India Film Guide - International Film Festival of India

Transcription

Ministry of Information & Broadcasting
Government of India
MINISTRY OF INFORMATION AND BROADCASTING
www.makeinindia.com
Government of India
INDIA
FILM GUIDE
GOVERNMENT OF INDIA
ROOM NO.107, FILMS WING, SHASTRI BHAVAN
DR. RAJENDRA PRASAD ROAD
NEW DELHI - 110 001 INDIA
Directorate of Film Festivals
Government of India
Sirifort Auditorium Complex,
August Kranti Marg, New Delhi- 110049
Tel: 91 11 26499371
www.dff.nic.in; www.iffi .nic.in
India at Cannes_Cover_with Spine_new.indd 1
Federation of Indian Chambers of
Commerce and Industry
FICCI Federation House, Tansen Marg
New Delhi, India 110001
Tel: +91-11-23738760
www.ficci.com
INDIA FILM GUIDE 2015
in partnership with
Cannes Film Market
India Pavilion
in partnership with
111 International Village Riviera
May 14-24, 2015
www.indiaatcannes.com
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India_Film_Guide_2015_Pages_1-68.indd 1
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CONTENT
FILM SECTOR
INITIATIVES
INDIAN FILM
PRODUCTION CENTRES
25
INDIAN FILMS AT CANNES
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69
FILMING IN INDIA
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NATIONAL FILM
AWARDS
FILMS FOR
SALES AND
SYNDICATION
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INDIAN COMPANIES AT CANNES
FILM MARKET
101
131
KEY INDUSTRY CONTACT LIST 237
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Message
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Message
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Foreword
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FILM SECTOR
INITIATIVES
Film Policies of the Ministry of
Information and Broadcasting
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Film Sector Initiatives
Ministry of Information and
Broadcasting Government
of India
he Ministry of Information and Broadcasting, through
the mass communication media consisting of
radio, television, films, press and print publications,
advertising and traditional modes of communication such as
dance and drama, plays an effective role in helping people
to have access to free flow of information. It is the apex
body for formulation and administration of rules, regulations
and laws for the same. It also caters to the dissemination of
knowledge and entertainment to all sections of the society,
striking a careful balance between public interest and
commercial needs, in its delivery of services. It is responsible
for international cooperation in the fields of mass media, films
and broadcasting and interacts with its foreign counterparts
on behalf of Government of India.
T
Ministry of Information &
Broadcasting
Government of India
SPOT INFORMATION
+ 91 11 23384995
WEBSITE
www.mib.nic.in
EMAIL
[email protected]
[email protected]
MINISTER FOR
INFORMATION &
BROADCASTING
Shri Arun Jaitley
MINISTER OF STATE FOR
INFORMATION &
BROADCASTING
Col. Rajyavardhan Rathore
SECRETARY
Bimal Julka
JS FILMS
K. Sanjay Murthy
DIRECTOR (DFF)
C Senthil Rajan
India Film Guide 2015
The Mandate of the Ministry Includes
News Services through All India Radio (AIR) and
Doordarshan (DD) for the people including Indians
abroad.
Development of Broadcasting and Television
Development and promotion of film industry.
Organization of film festivals and cultural exchanges.
Advertising and Visual Publicity on behalf of the
Government of India
Administration of the Press and Registration of Books
Act, 1867 in respect of newspapers.
Administration of the Cinematograph Act, 1952 in
respect of certification of films.
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Dissemination of information about India within and outside the country
through publications on matters of national importance.
Research, reference and training to assist the media units of the
Ministry to meet their responsibilities.
International cooperation in the field of information & mass media
The execution of the film mandate of the Ministry of
Information & Broadcasting is carried out through
the following bodies
Films Division
Central Board of Film Certification
National Film Archives of India
IFFI Secretariat
Film and Television Institute of India, Pune
Children’s Film Society of India
Satyajit Ray Film and Television Institute, Kolkata
National Film Development Corporation
The Ministry of Information & Broadcasting is
responsible for international cooperation in the
fields of mass media, films and broadcasting and
interacts with its foreign counterparts on behalf of
Government of India.
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Single Window for Film
Shooting in India – Film
Facilitation Unit
The Ministry of Information & Broadcasting is in the
process of setting up of a Film Facilitation Unit
i.
single window service for promoting
film shooting is all set to become
operational shortly. As part of providing
a single window mechanism for facilitating
shooting in India, the Ministry of Information
& Broadcasting, Government of India is
proposing to set up a Film Facilitation Unit.
The National Film Development Corporation
(NFDC) has been nominated as the executing
agency for setting up of/operating a Film
Facilitation Unit. The primary tasks of the Unit
would be:-
A
Act as a facilitation point for the film
producers in assisting them to procure
requisite permission.
ii. Disseminate information on shooting
locations and the facilities available with
the Indian film industry for production/
post production.
iii. Work closely with State Governments in
assisting them to set up similar facilities.
The Film Facilitation Unit would also develop
a dedicated online portal. The Website will
SEND YOUR APPLICATIONS FOR SHOOTING
FEATURE FILMS/TELEFILMS IN INDIA TO:
DESK OFFICER (FI), A WING, ROOM NO. 107
GOVERNMENT OF INDIA
SHASTRI BHAVAN, NEW DELHI - 110001 INDIA
Email: usfi[email protected]
PH: +91-11-23384995
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filmmaker would submit the script to the
Ministry of Information & Broadcasting for
clearance as before.
also include information on state-wise
facilities like transport, hospitality, medical
services and other local information for the
applicants.
Effectively, the single window system for
film shoot permission will enable filmmakers
to pursue their respective cases with the
Ministry of Information & Broadcasting and
not deal with various Ministries, departments
and agencies.
After making an application online, filmmakers
can expect clearance anytime from six to eight
weeks, depending on the shooting location -shooting in border areas usually takes a longer
processing time due to security reasons. The
The Ministry of Information & Broadcasting is in
the process of setting up the Film Facilitation Unit
which will also include an online portal which will
be the resource base and also answer queries of line
producers and film producers.
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Audio Visual Co-Production
Agreements
It is now possible for filmmakers of different countries
to come together and make films under bilateral
co-production agreements.
production
and other purposes. In India, it is
p
the
t Ministry of Information and Broadcasting,
Government
of India.
G
The
T Agreements identify who the co-producers
can
c be, the minimum and maximum permissible
share
of each co producer, possibility of co
s
producers
from third countries, provisions
p
for
f sharing of revenue, copyrights and prizes.
They
also provide for contribution by the coT
producer of each country and incurrence of
production and post-production expenses,
shooting etc in each country for artistes.
ndia
di
has
h
signed
i
d A
Audio-Visual
di Vi l coproduction agreements with the UK,
Canada, Germany, Brazil, Italy, Spain,
Poland, China and New Zealand. We have an
existing Protocol with France. Negotiations
are on to finalise Co-Production treaties with
Korea, Australia among other countries. These
agreements are expected to help producers to
pool in their resources and gain wider market
accessibility.
I
Many countries provide access to public funds
or subsidized funds to filmmakers. The films
co-produced under these agreements are also
eligible for such financing. Collaborations for
an Indian filmmaker would include knowledge
and use of different technical expertise and
processes, exchanges of styles of filmmaking,
sales and distribution of films by a local expert
and the advantages of being a National Film in
a European country. This will come along with
the international exposure the project would
receive in terms of publicity and audience.
It is now possible for filmmakers of different
countries to come together and make films
under bilateral co–production agreements.
New markets and audiences would be available
for the product, especially if collaborations
and partnerships are between nationals of
different countries.
The Government of India does not provide
direct public funds or subsidized co-production.
However, filmmakers can apply for financial
support of co-production film projects through
National Film Development Corporation.
Each agreement identifies the Competent
Authority for the country concerned to whom
applications are made for approval as co–
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Co-production agreements help
producers to pool in their resources
and gain wider market accessibility.
equipment needed for filmmaking. These are
coupled with the comparatively low costs of
filmmaking in India. Also India possibly has
the largest variety of locations available in one
country – from snow clad mountains to hills
and valleys, rivers, seas and beaches to green
pastures and deserts. An extensive road, rail
and air travel network exists. The television
and cable penetration is also very deep.
India has a huge advantage of being part of
a growing film industry and a huge audience.
The other benefits are that the co-production
is treated exactly like a national film and is
eligible for the National Film Awards and
the Indian Panorama section of IFFI. Also,
co-production opens up the Indian consumer
market to the foreign producer.
There is a large pool of technical talent
available across the sub-continent along
with the sophisticated infrastructure and
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Text of India’s co-production agreements:
p. 179 onwards
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New Cinematograph Act
The Government is set to amend the Cinematograph
Act 2052, to enable it meet the present day challenges
and make the entire certification process transparent
and speedy
oon, India will have an updated and
contemporary
Cinematograph
Act.
Government is proposing to bring in
amendments to the existing Cinematograph Act
with a view to enable the Act to meet the modern
requirements of certification process. Duly taking
into consideration recommendations of experts
and stake holders, the amended Act is expected
to address, among others, the following :-
Stringent Penalties for piracy
S
Piracy is one of the major concerns of the film
industry. The proposed amendment seeks
to address this issue effectively by bringing
in stringent penal provisions for copy right
violations.
Online Certification Process- The existing online
mechanism of Central Board of Film Certification
would be strengthened and the entire certification
process right from application stage to issuance
of certificate, would be made online. This
would ensure a user friendly and transparent
atmosphere. The online process would also
ensure effective monitoring and timely delivery
of service.
Composition of Advisory panels and their
selection process;
Guidelines for certification;
Classification of certification of films in a
more modern and universal manner;
Enhancing the jurisdiction of the Appellate
Tribunal.
Bringing in stringent penal provisions for copy
right violations.
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Taking piracy out
of Indian cinema
The Indian government has been taking a lot of
initiatives to do away with piracy.
A dedicated web portal.
inistry
of
Information
&
Broadcasting’s proposals for carrying
out an Anti-Piracy Initiative in the
audio-visual sector.
M
Production of a film/documentary.
Engaging with M/o HRD with the goal of
including anti-piracy awareness material
in the curriculum of the schools and
colleges.
Dissemination of multi-media campaigns on
piracy through audio-visual media, internet,
print media, etc.
Road shows /Street Plays on creating
awareness among society.
Training programmes and workshops to
sensitize police, judicial, administrative
officials, multiplex and cinema hall owners
about the Copyright Act.
Programme on building awareness in
Schools & Colleges through Debate/Essay
writing/painting competitions.
Conduct of research on the effects of
piracy and to enable development as
well as implementation of public-private
strategies to combat piracy.
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This scheme will be implemented through
leading business chambers like FICCI,
ASSOCHAM, CII and others.
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National Museum of
Indian Cinema
The museum will be a ready-reckoner of the history of
Indian cinema during the past 100 years.
The "National Museum of Indian Cinemas" will
not only provide a store house of information
to the laymen but it will also help film makers,
film students, enthusiasts and critics to know
and evaluate the development of cinema as
a medium of artistic expression not only in
the country but also in all parts of the world.
The Museum is developed in two phases. The
Phase-I is housed in Gulshan Mahal a heritage
building and the Phase-ll is a new building
adjoining Culshan Mahal which will have two
state-of the art theatres apart from display
galleries. The Phase-l is ready and Phase-II
will be ready by the end of 2015.
he National Museum of Indian Cinema
is a prestigious project of the Ministry
of lnformation & Broadcasting, Govt.
of India and is executed by Films Division, the
premium media unit of the Ministry.
T
The Purpose and Objectives of the Museum
are to encapsulate the socio-cultural history
of India as revealed through the evolution
of cinema; To develop as a research centre
focusing on the effect of cinema on society;
To exhibit the work of the noted directors,
producers, Institutions etc for the benefit
of visitors/film enthusiasts; To arrange
seminars, workshops for filmmakers & film
students; To generate interest in the future
generation in the field of film movement.
The museum will be a ready-reckoner of
the history of Indian cinema showcasing
technological aspects of production and
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Many famous studios of yesteryears like
Mehboob Studios, RK Studios and Prasad
Studios have donated equipment to the
museum. Some private collectors too have
come forward to donate items. The Films
Division, which was set up in 1941, to produce
short films to disseminate information during
war time, has also displayed old Eymo and
Mitchel cameras, recording equipment etc. Also
of interest are some even older instruments
that created an illusion of movement, which
were precursor to the movie camera.
screening of films, as well as its social
aspects during the past 100 years. Through its
interactive galleries, it will trace the evolution
of celluloid from the Lumiere Brothers, Raja
Harishchandra onwards, and showcase Indian
cinema in three stages - silent era, golden
era and the modern era. It will portray the
footsteps taken by Indian cinema, from the
period of silent films to the studio period, and
then recreate the times when stars and mega
stars dominated the silver screen.
An Advisory Committee headed by renowned
filmmaker Shyam Benegal has guided the
Films Division in establishing the museum.
NMIC has been curated by the National
Council of Science Museums, Kolkata, under
the Ministry of Culture, which manages
55 various kinds of museums in the country.
Visitors can also watch clips of old classics on a
number of monitors or listen to rare film music
from the past. There is also an interesting
collection of posters of landmark movies from
across India. A section on regional cinema is
also on display.
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National Film
Heritage Mission
National Film Heritage Mission’s aim is to restore and
archive films for preservation and dissemination of
Indian film cultural heritage.
The following are the objectives of the NFHM:
he Ministry of Information &
Broadcasting has launched the National
Film Heritage Mission (NFHM) to digitize
best of Indian cinematic works and archive
them for the benefit of future generations.
T
To undertake film condition assessment of
the film collection and to ascertain the left
over life of the film.
Preventive conservation of film reels.
NFHM is now functional to take care of
digitization and restoration of film heritage
and is being implemented by National Film
Archive of India, Pune.
2k/4k picture and sound restoration of
landmark feature films and shorts of
Indian cinema and recording of new
picture and sound inter-negatives of each
film.
NFHM’s aim is to restore and archive films for
preservation and dissemination of Indian film
cultural heritage. It will restore and conserve
precious and classic films of the past 100
years of Indian cinema.
Digitization of feature films and shorts.
Construction of archival and preservation
facilities for preservation of material
restored under NFHM in dust free, low
humidity, and low temperature conditions
at NFAI campus, Pune.
NFHM will also conduct training, workshops
and courses in field of conservation,
preservation and archiving in co-ordination
with international agencies that are experts in
this field.
NFHM’s aim is to restore and archive films for
preservation and dissemination of Indian film
cultural heritage. It will restore and conserve
precious and classic films of the past 100
years of Indian cinema.
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National Centre for
Excellence in Animation,
Gaming and Visual Effects
The National Centre for Excellence will establish and
implement benchmarks in teaching and training standards of the sector and provide a leadership vision to the
whole industry.
It will also enable and facilitate access to
resources for students to learn and develop
their creative and cognitive skills. Regular
interactions will be conducted with the
academia, private and corporate community to
create synergies.
he National Centre for Excellence in
Animation, Gaming and Visual Effects
is soon to be established through the
public-private partnership mode for providing
skilled workforce for the industry.
T
The National Centre for Excellence would
establish and implement benchmarks in
teaching and training standards of this sector
and provide leadership role to the whole
industry.
Flexible and innovative education structure
will be devised to enhance creativity and
commitment that curriculum will be at par with
the Global Standards. The centre wil provide
continuous support to animation, gaming &
visual effects community to provide HR (efficient
human resource) platform for related projects
The centre aims to become a self sustainable,
creativity driven and industry friendly institution
that promotes high quality education and
research
Above all, it will act as an incubation center
for developing competencies and support
commercial ventures. It will also engage
private players in appropriate roles involving
active participation resulting in growth of the
institute.
With an intention to provide skilled work force,
it aims to offer a competitive edge to Indian
Industry by developing skills for original IP
content.
Since the successful students would be working
in the industry, the latter will be in a position to
take up Co-Production projects in collaboration
with foreign companies. Besides, the proposed
centre will provide research platform for
projects.
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Towards maintaining high standards in
imparting education in the field of animation,
gaming and visual effects as well as bringing in
best administrative practices, it is proposed that
the centre would be set up with the help and
support of the industry and other stakeholders.
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INDIAN FILM
PRODUCTION
CENTRES
Top filmmaking centres of India
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Indian Film Production Centres
INDIA FACTS
THE OFFICIAL PORTAL
http://india.gov.in
POLITICAL SYSTEM
Democracy
POPULATION
1.2 billion
CAPITAL
New Delhi
ADMINISTRATIVE
DIVISIONS
29 States and
7 Union Territories
LANGUAGES
Hindi, English and 21 other
national languages.
AREA
India measures 3,214 km from
north to south and 2,933 km
from east to west with a total
land area of 3,287,263 sq km.
CLIMATE
Southern India enjoys tropical climate but northern India
experiences temperatures from sub-zero degrees to 50 degrees
Celsius. Winters in northern India are usually during December
to February while spring blossoms in March and April. Monsoons
arrive in July and stay till September, followed by autumn in
October and November.
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AIRPORTS
The Airports Authority of India (AAI) manages a total of
125 Airports.
INTERNATIONAL AIRPORTS
Ahmedabad, Amritsar, Bengaluru, Calicut, Coimbatore, Chennai,
Gaya, Goa, Guwahati, Hyderabad, Imphal, Jaipur, Kochi, Kozikhode,
Kolkata, Lucknow, Mumbai, Mangalore, New Delhi, Nagpur, Port
Blair , Srinagar, Thiruvananthapuram,
Varanasi, Tiruchirapalli, Visakhapatnam
RAILWAYS
The Indian Railways network is spread over 64,000 km, with
12,000 passenger and 7,000 freight trains each day from 7,083
stations plying 23 million travellers and 2.65 million tonnes of
goods daily.
ROADWAYS
India has the second largest road network in the world of over
4.1 million km.
CURRENCY
Rupee
TELEPHONE CODE
+91
TIME ZONE
IST
INTERNET
.in
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CUTTACK
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FILMMAKING
CENTRES OF
INDIA
ndia is probably the world’s most
culturally and linguistically diverse
nation. Its people speak 22 different
languages, besides hundreds of dialects. Is it
any wonder then that India is a land of many
distinct cinematic traditions?
I
The 1000-odd movies that the country annually
produces are made in a number of languages,
each with its own distinct literature, history,
theatre and music.
Indian films are produced in several centres
around the country. Each of these filmmaking
cities serves as the hub of cinema in one
prominent language.
Mumbai, regarded as India’s movie capital,
hosts the Hindi film industry that has a panIndian footprint. Marathi-language films are
also produced in the city that is inextricably
intertwined with the history of Indian cinema.
Chennai, Kolkata, Hyderabad, Thiruvananthapuram, Bangalore, Bhubaneswar and
Guwahati are the other major Indian cities
where films are produced.
While the distribution of these so-called
‘regional’ films is largely limited within the
territories for which they are made – they do
not have the nationwide reach of Bollywood
blockbusters – they add immensely to the
depth and range of Indian cinema.
Text: Saibal Chatterjee
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India is the largest film producing
country in the world and its output
has a global reach. Here are top
filmmaking Indian cities which
serve as the hub of cinema in their
respective regional languages.
Indian films are produced in several centres
around the country. Each of these
filmmaking cities serves as the hub of cinema
in one prominent language
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Mumbai
Maharashtra
A large chunk of the Hindi films produced in
Mumbai constitute what is usually described
as Bollywood, a label used for a cinematic
tradition built on a crowd-pleasing mix of
melodrama, romance, moral conflict and music.
he bustling western Indian metropolis is
the heart of the Indian movie industry,
producing nearly 200 films a year in the
Hindi language.
T
and emotionally satisfying entertainment to
the masses; the other designed to appeal to a
niche audience with a taste for more realistic
movies.
It also, along with the nearby city of Pune,
produces Marathi-language films, which, in
the silent era and beyond, thrived in the hands
of pioneering stalwarts like V Shantaram and
Bhalji Pendharkar, among others.
There have of course been occasions when
these two separate approaches have merged
in the same film and resulted in timeless
classics such as Mother India, Mughal-eAzam, Deewar and Lagaan.
A large chunk of the Hindi films produced in
Mumbai constitute what is usually described
as Bollywood, a label used for an old cinematic
tradition built on a formulaic and crowdpleasing mix of melodrama, romance, moral
conflict and music.
The A-list Mumbai cinema stars, objects of
adulation around the country and by the Indian
Diaspora, power the mainstream Bollywood
industry.
This extravagant form of storytelling is
extremely popular in the other filmmaking
centres as well. However, it is by no means
the only kind of cinema that emerges from
Mumbai.
The city has always had two distinct streams
of filmmaking – one aimed at providing glitzy
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Mumbai played a key role in the evolution of
parallel films in the late 1960s and 1970s,
thanks to the efforts of directors like Shyam
Benegal and Govind Nihalani.
Its filmmakers also drove the global spread of
the Bollywood narrative idiom in the aftermath
of major commercial successes in the past
decade and a half.
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Chennai
Tamil Nadu
Tamil cinema has a following not only in the
state of Tamil Nadu but also in the other
southern states of India, besides among
the Tamil expatriate community
across the world.
hennai (formerly Madras) is home to
the hugely successful and productive
Tamil movie industry, which has, over
the decades, given Indian cinema a few of its
biggest and most abiding stars.
C
The Tamil movie industry has seen film
production since the mid 1910s. It has
constantly kept pace with the growth of the
rest of Indian cinema.
In fact, at several junctures in its history,
it even set the pace for others to follow,
especially in matters of technology and film
production practices.
Tamil cinema has a following not only in the
state of Tamil Nadu but also in the other
southern states of India, besides among
the Tamil expatriate community across
the world.
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Hindi versions of Tamil box office hits as well
as bilingual productions mounted in Chennai
have been successful around India ever since
1948’s Chandralekha opened the sluice-gates
for nationally distributed films from this part
of India.
The dominant strain of Tamil movies, like that
of Hindi popular cinema, hinges on the crowdpulling power of its male superstars, notably
veterans Rajinikanth and Kamal Haasan.
But in the past as well as in recent times, the
industry has seen a steady output of films
from young directors working outside the
conventional star system with great success.
For audiences around the country, Mani
Ratnam, who also makes films in Hindi, is one
of the better known Chennai directors.
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Kolkata
West Bengal
It is a tradition that dates back to the silent
era, a period during which Bengali cinema,
unlike other cinemas that were beginning
to take roots in that period, produced social
satires and dramas adapted from literary
works rather than mythological epics.
engali-language cinema, known the world
over for the celebrated masterpieces of
Satyajit Ray, is produced in Kolkata from
studios located largely in Tollygunge in the
city’s southern suburbs.
B
Many of the pioneers of early Indian cinema
worked in this city in the silent era. In fact,
Hiralal Sen is known to have made films here
well before India’s officially recognized first
full-fledged fiction film, D.G. Phalke’s Raja
Harishchandra, was screened in Mumbai.
Commercial Bengali cinema has thrived right
since the silent era, barring a few troughs in
the 1980s and 1990s caused by the death of
its most luminous superstar Uttam Kumar
and the retirement of his on-screen partner
Suchitra Sen.
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But it is for the critically acclaimed works
of three masters – Ray, Ritwik Ghatak and
Mrinal Sen – that Kolkata enjoys global fame.
Directors such as Tapan Sinha and Tarun
Majumdar built their careers around films that
struck a fine balance between artistic merit
and commercial potential.
More than their counterparts in any of the other
film production centres of India, screenwriters
and directors in Kolkata, especially those that
work in the non-mainstream sphere, continue
to draw inspiration primarily from literature.
It is a tradition that dates back to the silent
era, a period during which Bengali cinema,
unlike other cinemas that were beginning
to take roots in that period, produced social
satires and dramas adapted from literary
works rather than mythological epics.
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Hyderabad
Andhra Pradesh
On several occasions in the last decade,
Telugu films accounted for more releases
in a year than cinema in any other Indian
language, including Hindi.
yderabad is the hub of Telugu cinema,
which is one of the most prolific and
commercially consistent of all the
cinemas of India.
H
Between Telengana and Seemandhra, the two
separate states that the erstwhile Andhra
Pradesh has recently been split into, there are
2800 movie halls, the highest in any single
region of India.
On several occasions in the last decade, Telugu
films accounted for more releases in a year
than cinema in any other Indian language,
including Hindi.
Many big-budget Hindi and Tamil films
are official remakes of Telugu hits, a sure
measure of the mass appeal of movies made
in Hyderabad.
Cannes Film Market
In terms of artistic quality and global
recognition, Telugu cinema may lag behind
films made in Malayalam and Tamil, but it
continues to be the most robust of the southern
industries.
Hyderabad has some of India’s best film
production studios. They have been set up
by established names of the Telugu movie
industry – men such as B. N. Reddy, L.V. Prasad,
Akkineni Nageswara Rao and D. Rama Naidu.
Until about three decades ago, large sections
of the Telugu movie industry operated out of
Chennai. But today, Hyderabad is where all the
Telugu moviemaking action is focused.
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Thiruvananthapuram
Kerala
When the movie industry in this part
of the country took off in the 1950s, it not
only quickly caught up with the rest of
Indian cinema, it also established itself at
the forefront of the Indian parallel
cinema movement.
hiruvananthapuram
(formerly
Trivandrum) is the capital of the
southern Indian state of Kerala. The city,
along with Kochi, serves as the nerve-centre of
cinema in Malayalam.
T
Although films were made in the state in the
silent era, cinema in Kerala was late to flourish
and at the time of India’s Independence in
1947, only a handful of Malayalam films had
been produced.
But when the movie industry in this part of the
country took off in the 1950s, it not only quickly
caught up with the rest of Indian cinema, it
also established itself at the forefront of the
Indian parallel cinema movement.
Malayalam movie superstars Mohanlal and
Mammootty are known across the country
Cannes Film Market
and directors such as Adoor Gopalakrishnan
and Shaji N. Karun and the late G. Aravindan
are feted at film festivals around the world.
When Malayalam cinema began to assume
the proportions of a full-fledged industry
post-Independence, it was headquartered in
Chennai. It was only by the late 1980s that
it moved completely to its current location in
Thiruvananthapuram.
Like the other cinemas of India, Malayalam
movies are divided between a popular genre
and a socially relevant strand.
Cinema from Kerala gained national and
international prominence, riding on the films
made by Adoor and Aravindan in the 1970s
and 1980s. The tradition of making realistic
and meaningful cinema continues to this day.
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Bangalore
Karnataka
The 1950s marked the advent of
Dr. Rajkumar, whose popularity
as a lead actor in mythological epics helped
Kannada cinema achieve new heights.
n Bangalore, India’s Silicon Valley, films
are made in the Kannada language. The
first Kannada film was made in the talkie
era, and the industry’s growth was steady until
the late 1940s.
I
The 1950s marked the advent of Dr.
Rajkumar, whose popularity as a lead actor
in mythological epics helped Kannada cinema
achieve new heights.
The 1970s and 1980s are generally regarded
as the golden era of Kannada cinema, which
Cannes Film Market
was enriched by the work of directors like B.V.
Karanth, Girish Karnad and Girish Kasaravalli.
In 1970, Samskara, based on a novel by
celebrated writer U.R. Ananthamurthy and
directed by Pattabhi Rama Reddy, inaugurated
the parallel cinema movement in Karnataka.
While alternative cinema has continued to
thrive in the state, commercial cinema, too,
has sustained itself despite not quite enjoying
the financial clout of Tamil and Telugu films.
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Lucknow
Uttar Pradesh
Patna
Bihar
Bhojpuri cinema, which also caters to third
and fourth generation migrants in Surinam,
Mauritius, Trinidad & Tobago, Fiji and Guyana,
has its own star system and a committed
audience base.
he central Indian city of Lucknow is
the base of Bhojpuri cinema, which is
produced largely in and for eastern Uttar
Pradesh and western Bihar.
T
The first-ever Bhojpuri-language film, Ganga
Maiyya Tohe Piyari Chadaibo (Mother Ganges,
I Will Offer You a Yellow Sari), was released
only in the early 1960s. But the industry grew
steadily as the demand from people who speak
the dialect in India and elsewhere increased.
Bhojpuri cinema, which also caters to third
and fourth generation migrants in Surinam,
Mauritius, Trinidad & Tobago, Fiji and Guyana,
has its own star system and a committed
Cannes Film Market
audience base, but it has failed to build on
the opportunities to break into the national
mainstream.
The last couple of decades have seen a major
spurt in the production of Bhojpuri films, but
these have all been run-of-the-mill potboilers
designed for an audience that seems to be
undemanding and easy to please.
In parts of India where Bhojpuri speakers
live and work, these films continue to be
exceedingly popular. But since most of these
films are made on tight budgets and follow
rushed production timelines, they tend to be
rather low on technical finesse.
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Bhubaneswar
Odisha
Odia cinema developed its own idiom
thanks to the efforts of Gour Prasad Ghosh
and Parbati Ghosh. The duo produced
several National Award-winning films,
including the epochal Kaa.
n the eastern Indian state of Odisha,
films are made in Bhubaneswar and
Cuttack.
Biswal, who produced four hugely popular
films. His first production, Nua Bou, created a
sensation all across the state of Odisha.
The first Odia-language film was made in
1936, but until the 1950s only a handful of
more titles were produced.
Odia cinema developed its own idiom in
subsequent years thanks to the efforts of the
husband-wife team of Gour Prasad Ghosh
and Parbati Ghosh. The duo produced several
National Award-winning films, including the
epochal Kaa.
I
Back then, the Odia film industry did not have
production facilities of its own. Films in the
language had to depend on Kolkata, which made
movie-making in Odisha difficult and unviable.
In the late 1950s, the first cooperative venture
to produce, distribute and exhibit Odia films was
set up by Krushna Chandra Tripathy.
The organization was named Utkal
Chalachitra Pratisthan, and it produced
several films in the 1960s that gave Odia
cinema a distinct identity.
In 1961, another production house, Pancha
Sakha, was set up by amateur artiste Dhira
Cannes Film Market
Other production houses took roots in the
1970s, including Diamond Valley Productions,
set up by entrepreneur Sarat Pujari.
In 1975, the state government stepped in to
promote cinema by setting up the Odisha Film
Development Corporation. Five years later,
the Kalinga Studio came up with the support
of Chennai’s Prasad Studios.
Odisha currently produces an average of
20 films a year.
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Guwahati
Assam
At the turn of the millennium, a ray of
hope had emerged in the form of a spurt in
Bollywood-inspired Assamese melodrama
that found takers among the mass audience.
ssamese films, produced in northeastern Guwahati, are a constant
presence in India’s National Awards.
Yet the film industry in Assam remains
commercially unviable.
A
Constantly under the shadow of Bollywood
films, the state has not been able to develop
a distribution and exhibition system that can
prop up locally made films and make them
viable.
At the turn of the millennium, a ray of
hope had emerged in the form of a spurt in
Bollywood-inspired Assamese melodrama
that found takers among the mass audience
in the state. But the trend was short-lived.
Despite the effort of the pioneers and the
work of their successors in the 1950s and
1960s (Bhupen Hazarika, Nip Barua, Pudum
Barua), Assamese cinema has been dragged
down by the paucity of exhibition outlets.
Despite all the odds, the names of the late
author and filmmaker Bhabendra Nath Saikia
and the still-active Jahnu Barua shine bright.
And there is more…
Besides the above production centres, films are made in Manipuri in
Imphal, in Gujarati in Ahmedabad, and in Punjabi in Chandigarh. Indian
films are also made in numerous dialects.
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05-05-2015 17:15:06
INDIAN FILM
SECTOR
Higlights from
FICCI-KPMG Report 2015
Cannes Film Market
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Indian Film Sector Highlights
Films: New Growth
Prospects
With rising average ticket prices and availability of
alternate entertainment platforms, the audience today
seems to have become more discerning when it comes
to watching films in theatres
the rest of the films took a beating either in
terms of price or ability to sell the title. There
were very few bulk deals and certain films,
despite crossing INR1 billion at the box office,
were unable to find buyers.
014 could well be termed as the year of
‘introspection and reality check’ for the
Indian film industry. During the year,
the gap between box office collections of the
top 10 films and the contribution of the rest of
the industry widened further. The category-A
films with top league actors continued to
perform well at the box office, however the
same was not true for films which lacked
both strong content and a top league actor
to attract audiences to the theatres. Industry
discussions indicate that 2014’s content did
not deliver at par with 2013. While there were
strong content driven films this year which
delivered high returns on investment, the
proportion of such films was less than the
previous year. With rising average ticket prices
and availability of alternate entertainment
platforms, the audience today seems to have
become more discerning when it comes to
watching films in theatres.
2
The exhibition sector took bold strides in
expanding its footprint – both organically
and through acquisitions. Many players have
adopted the organic route to build presence in
new markets, especially in the tier II and
tier III cities. The year also saw changes to
the list of the largest exhibition chains with the
emergence of a new player, Carnival Cinemas.
Carnival acquired three cinema chainsHDIL Broadway, Big Cinemas and Stargaze
Entertainment. Further, consolidation has
brought multiple benefits to the otherwise
fragmented industry.
Now, film makers have a wider reach and at
the same time interact with relatively lower
number of exhibitors. The industry is soon
expected to see national distributors playing a
far greater role in release of a film. Additionally,
consolidation is stimulating growth in the incinema advertisement platform. Advertisers
are now offered a far greater reach and
Television broadcasters became more
strategic with their film acquisition budgets,
significantly impacting the Cable & Satellite
rights (C&S) of most films. While prices of
category-A films continued to hold ground,
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Film industry performance
Revenues (INR
Billion)
2014
2015p
2016p
2017p
2018p
2019p
CAGR
2014-19
Domestic Theatrical
93.5
99.9
113.6
123.5
133.7
145.1
9.2%
Overseas Theatrical
8.6
9.6
10.9
11.9
12.9
13.9
10.1%
Home Video
1.2
1.0
0.9
0.8
0.7
0.6
-12.2%
Cable & Satellite
Rights
14.7
15.5
17.6
19.2
20.8
22.5
8.8%
Ancillary Revenue
Streams
8.4
10.3
12.5
15.4
18.3
21.8
21.0%
126.4
136.3
155.6
170.7
186.3
204.0
10.0%
Total
Source: KPMG in India analysis
address the fundamental issues plaguing the
profitability of the sector and what measures it
can take to build sustainable business models.
The lack lustre performance of the two key
revenue segments for the industry: theatrical
and cable and satellite rights has sent many
film makers back to their drawing boards to
reassess the viability of their future projects.
impact with national chains having a pan India
presence. The industry is witnessing changes
in in-cinema advertisement business models
with contracts shifting from ‘lump sum’ deals
to ‘pay per contact’ which is considered as a
better metric for measurement of the efficiency
of the medium.For exhibitors the obvious
benefit of economies of scale is being reflected
through rationalisation of cost structures.
The industry (production houses) needs to
take a step back and deliberate on how it can
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INDIAN M&E
INDEX
$1.5
billion
2014
Box Office
Collections
826
TV Channels
161million
TV Households
1500
Feature films
produced in India
275million
Internet
User base
Mobile Subscribers
“When you look at the
world—and pick your
markets—you have to
believe India is one of
the major markets of the
1st century”
Bob Bakish, president
of Viacom International
Media Networks
“Bollywood is India’s
biggest cultural
export”
175 million entertainment
Grammy-nominated DJ
Mobile
and producer Paul van
Internet Users
Dyk
960 million
India has 7 screens
per million people in
comparison with
125 per million in the US.
TV revenue in India is
set of to grow at a 14%
annual CAGR in the
years 2014 through 2018
according to KPMG
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Facebook has 125
million users in India,
more than 100 million
utilise the platform on
their mobile phones at
least once a month.
India will surpass the
US to lead as the largest
Facebook user base on
mobile by 2017
Currently there are 175
million mobile Internet
users in India. It is
expected to grow to 457
Million users by June
2019 according to KPMG
338% growth in
ecommerce ad-spends
(INR 5 bn) on digital
platforms
INDIAN M&E
INDEX
Television
Grew by
Films
Grew by
14%
10%
Radio
Grew by
Print
Grew by
18%
8%
Animation&VFX
Grew by
Gaming
Grew by
13%
22%
Digital Advertising
Grew by
Search and display lose
share to Social (18%),
Mobile (14%), and
Video (12%)
Cannes Film Market
45%
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Production
Increasing corporatisation and professionalism in the
Indian film fraternity has started to pave way for the
establishment of film and entertainment focussed
investment funds
on pre-production activities such as concept
development, audience research, etc.
he Indian film production landscape is
highly fragmented with a combination of
few renowned indigenous film production
houses, international studios and numerous
independent film producers.
T
Even many of the traditional family run
production houses now seem to understand
the importance of bringing in processes and
structure to the movie making business and have
upped their act to become more professional
and corporatised in their operations.
The industry has witnessed the entry of new
players such as Multi Screen Media (under the
banner MSM Motion Pictures) in 2013 and Zee
Entertainment Enterprises Ltd. (through its
company Essel Vision Productions) in 2014.
Increasing corporatisation and professionalism
in the film fraternity has started to pave way for
the establishment of film and entertainment
focussed investment funds. 2014 saw launch
of four new venture funds focussing on this
industry.
The entry of international studios such as
Disney India, Viacom 18 Motion Pictures and
Fox Star Studios in the last few years seems
to have made the industry more organised
in the way films are produced in India by
bringing in leading industry practices of film
production from western markets, thereby
increasing efficiency and placing greater focus
The four new venture funds are Indus Media
Capital, HBS Raksha Movies Fund, Bend it Media
and Third Eye Cinema Fund (TECF).
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Distribution
Like box office collections, the number of tweets,
Facebook likes and YouTube hits have also become
an important key performance indicator (KPI) for the
movie succes
becoming a challenge for films with tight
budgets as there is a minimum spend required
to reach a threshold audience base. P&A cost
for a Category A film (released across 3000+
screens) can be anything above INR200
million, for a Category B film it could range
between INR 150-180 million and for a
Category C film at least INR 100 million.
igitisation of screens has allowed
distributors
to
release
films
simultaneously across thousands of
screens, as a result of which almost 60-80 per
cent of theatrical revenues are now collected
in the first week of release,06 compelling
filmmakers to generate enough buzz to attract
maximum footfalls within the first weekend
itself.
D
Given this backdrop, many filmmakers have
started exploring campaign and box-office
analytics to gauge the effectiveness of their
campaign and take appropriate measures to
maximise the return on investments. Various
firms such as IBM, Persistent Systems, Google,
Prime Focus Technologies mGage, Ormax etc.
are now offering solutions especially designed
for the filmmakers to make strategic decisions
about their budgets, conduct costbenefit
analysis with minimal risks, measure audience
engagement across various touch points.
Thus, marketing budgets which were negligible
a decade back, now account for a significant
portion of the overall cost of production.
Additionally, film makers now have an
elaborate mix of marketing media: television,
print, radio, OOH, in-cinema advertisements,
social media, live events, merchandising,
mobile apps, mobile games, and other digital
media at their disposal, the judicious use
of which is critical to create the maximum
possible impact. Like box office collections,
the number of tweets, Facebook likes and
YouTube hits have also become an important
key performance indicator (KPI) for the movie
success.
The release window continues to play an
important role in deciding the release strategy
for any film. The filmmakers consciously decide
to release their films during festivals,long
weekends and summer/winter vacations
(school breaks), etc. and avoid clashes with
any major sporting events. For example, only
two out of the 20 movies that were released
during the IPL 2014 performed well at the box
office.
Film-based mobile applications and games
have become an emerging trend while citywise marketing campaigns have almost
become the norm. Given the varied number
of marketing and promotional avenues, the
huge P&A (Print and advertising) costs are
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Exhibition
In 2014 Indian films further increased their reach.
Hindi films ‘Bang Bang’ and ‘PK’ were released across
800 plus and 6000 screens worldwide in the overseas
market. Besides, increasing the number of prints in
2014, the industry also added new geographies to
its distribution portfolio: newer markets included
geographies such as Lebanon, Iraq and Burma
where there are 125 screens per million
people.
014 saw another round of consolidation
with Carnival Cinema’s entry into the big
league through three major acquisitions:
HDIL Broadway (10 screens), Reliance owned
Big Cinemas (252 screens), and Stargaze
Entertainment from Network18 Media11 (30
screens). Other prominent acquisitions included
Inox Leisure Ltd. acquiring Satyam Cinemas12
(38 screens) and Cinepolis acquiring Fun
Cinemas (83 screens). Post consolidation, PVR
Cinemas continues to be the leading exhibitor
with 462 screens followed by Inox Leisure
Ltd. with 365 screens and Carnival Cinemas
with 330 screens. The industry might witness
another round of consolidation soon with the
major multiplex chains acquiring smaller
regional chains.
2
Additionally, the screen distribution is also
skewed in favour of urban centres. Mumbai
and Delhi/UP circuit together constitute
approximately 60 per cent of the total box
office collections for most Hindi films.
Thus, besides inorganic growth, many
exhibitors are also investing in organic
expansion especially in tier 2 and 3 cities to
capitalise on the opportunity of lower screen
penetration. During the year, leading multiplex
chains added close to 100 screens. Carnival
Cinemas has declared its intention to invest
INR5 billion to establish 500 screens in
Madhya Pradesh.
DOMESTIC THEATRICALS
Even though India leads the world average in
terms of movies produced each year, the gross
under penetration of screens continues to be
a cause of worry for the industry as domestic
theatricals is the primary source of monetising
content for most films. There are just 7 screens
per million people in India, unlike in the U.S.,
Domestic theatrical revenues remain the main
source of income for movie makers in India.
The segment contributes 74 per cent to the
total industry. In 2014, the overall industry
performance was dampened due to the drop in
theatre footfalls in the first three quarters and
slower growth in average ticket prices (ATP).
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05-05-2015 17:15:19
the total gross collections of an Indian movie
is collected from overseas theatrical compared
to 60 per cent for Hollywood industry.
The industry is estimated to be worth
INR126.4 billion in 2014. Though the share of
other revenue streams is on the rise, domestic
theatricals is expected to continue to dominate
for the next five years.
In 2014 Indian films further increased their
reach. Hindi films ‘Bang Bang’ and ‘PK’ were
released across 800 plus and 6000 screens
worldwide in the overseas market. Besides,
increasing the number of prints in 2014, the
industry also added new geographies to its
distribution portfolio: newer markets included
geographies such as Lebanon, Iraq and
Burma.
The gross box office collections of top 10
Hindi films in 2014 grew by 2.4 per cent over
2013 collections and 11.7 per cent over 2012
collections. However, for the next 10 films the
box office collections dropped by 3 per cent
in comparison to 2013 collections and 11.3
per cent for 2012 collections. The trend has
continued across the board with box office
collections of films ranking 21 to 50 sliding
further compared to previous years (2012 and
2013). The drop has been extreme in case of
films ranking 41 to 50 where the total box
office collections of these films dropped by 48
per cent in 2014 as compared to 2013.
Filmmakers and production houses seem
to be looking at overseas theatrical beyond
just an ancillary revenue stream. Premieres
at international locations, and tie-ups with
international agencies have all been exercises
to increase traction in foreign countries and
promote Indian films. Middle East, North
America and U.K. are the key markets, and
together they continue to contribute about 70
per cent to the total overseas revenues.
While 2014 has been a lack-lustre year due to
the poor performance of content, 2015 could
also witness similar muted growth due to the
uncertainty around content which is already in
the pipeline and the slow rate of real estate
growth which is expected to impact the
delivery of new screens. Additionally, since the
next phase of screen growth is being delivered
by tier 2 and tier 3 cities, the ATP growth might
be a bit slower than historical growth.
The Middle East market has showcased an
impressive Y-o-Y growth of 25-30 per cent
while the U.S. market grew at ~5-10 per
cent. In U.K., Indian movies are struggling to
connect with the third generation of Indian
diaspora leading to a decline in collections
from the region. The industry is experiencing
mushrooming demand from new markets
such as Japan, China, South Korea and Peru
where films are distributed with subtitles in
the native language of those markets. Movies
with strong content such as ‘PK’, ‘Haider’, ‘2
States’ are performing well with non-Hindi
speaking audiences as well.
However, from 2016 onwards the industry
expects to get back on its growth trajectory.
Taking the above factors into consideration,
the domestic theatrical segment is expected
to touch INR204 billion by end of 2019 and
grow at a CAGR of 10 per cent during 20142019.
OVERSEAS THEATRICALS
Overseas theatricals witnessed a 3.5 per cent
increase from INR8.3 billion in 2013 to INR8.6
billion in 2014, while the overall contribution
stood at 7 per cent of the total revenue.
Currently, on an average only 10-25 per cent of
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Regional Markets
Regional cinema is now able to make bigger inroads
in the overseas market, growing in both traditional
markets such as the US, Gulf and non-traditional
markets such as Japan, France, Denmark, Taiwan,
Korea and China
experimental films such as ‘I’. The impressive
growth of the Tamil industry can be partially
attributed to a number of small budget movies
with good and fresh content, which performed
exceptionally well at the box office.
014 was a landmark year for regional
cinema as the number of regional
movies produced reached an all-time
high - around 287 Tamil language movies were
released in 2014, the number stood at 255 for
Telugu movies compared to 216 Hindi movies.
At the same time, other regional industries
also saw a steep increase in the production of
movies. While the four South Indian markets,
Tamil, Telugu, Kannada, and Malayalam, still
lead the pack, the Marathi and Punjabi film
industries undoubtedly left their mark at the
box office in 2014. While the Marathi film ‘Lai
Bhaari’ made with a budget of INR 80 million
had a box office collection of more than INR
350 million, the animated Punjabi movie ‘Chaar
Saahibzaade’ made with an investment of
INR200 million generated INR700 million at
total box office. The Bengali film industry did
not have a great year as the few category-A
films failed to attract audiences to theatres.
2
The Telugu film industry, which is similar to
the Hindi film industry for its dependence on
star power, had a softer year compared to
its neighbours. While the number of movies
produced during the year increased, the
highest grossing Telugu movie ‘Race Gurram’
in 2014 collected just INR570 million at the
box office compared to the highest grossing
movie in 2013 which ended by collecting
INR1.81 billion. The movies ‘Minugurulu’ and
‘Manam’ scored high on the critics list and
were amongst the 30 films shortlisted by the
Film Federation of India (FFI) for the 87th
Oscar Awards.
Individually, the Tamil industry needs to find a
workaround to be able to offer enough cinema
screens to a movie, considering on an average
four to five Tamil films get released every
week; the Telugu industry which is primarily
dominated by a few top actors needs to widen
its portfolio to involve new talent. Kannada
and Malayalam films still lag behind in terms
of content and production values, albeit the
rise in number of productions in a year.
Many domestic exhibitors are now willing to
give more screen space to regional cinema and
sometimes even prefer a good regional movie
over a Hindi movie. ‘Lingaa’ became the first
Tamil movie to enjoy the widest release across
5,000 screens worldwide. Besides cashing in
big at the ticket counter, the Tamil film industry
also stood out for its proclivity to produce
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Box office performance of select regional films
Movie
Language
Budget
Gross Box Office
Lingaa
Tamil
800
1480
Kaththi
Tamil
700
1240
Aranmanai
Tamil
120
220
Vella Illa Pattathari
Tamil
80
530
Bangalore Days
Malayalam
90
500
Lai Bhaari
Marathi
80
350
Chaar Sahibzaade
Punjabi
200
700
Veeram
Tamil
400
1300
Source: Hindustan Times, 19 December 2014, ‘2014: When little
gems outclassed big guns in southern cinema’
In INR millions
Bengali films on the other hand need to cope
up with the lack of serious players in the
production space, limited cable and satellite
options, very few stars and most importantly
limited multiplex screening infrastructure.
The emergence of successful movies from
smaller industries is a positive sign; however
the challenge ahead would be to sustain this
growth.
UAE and Singapore. ‘Lingaa’, ‘Kaththi’, ‘Jilla’,
‘Kochadaiiyaan’ performed well among the
Tamil movies in the US and U.K. markets.
‘Lingaa’ was released across 200 screens
in the US, 85 in England, 50 in France, 20 in
Denmark, 16 in Germany, 9 in Holland and on
few screens in Switzerland, Norway, Belgium,
and Sweden36 while the Tamil film ‘I’ was
released across 5,000 screens in China alone.
OVERSEAS THEATRICALS
The Punjabi film industry is facing challenging
times due to drop in demand from U.K.
However, as an exceptional case, ‘Chaar
Saahibzaade’ earned nearly 60 per cent of its
total revenue from overseas markets including
North America, U.K., Australia, and Europe.
Regional cinema is also now able to make
bigger inroads in the overseas market, growing
in both traditional markets such as the US, Gulf
and non-traditional markets such as Japan,
France, Denmark, Taiwan, Korea and China.
The trend of opening up new markets applied
to regional films as well. ‘Kaka Muttai’ and
‘Char Sahibzaade’ performed extremely well
in non-traditional markets such as Canada and
New Zealand.
Bengali films are still restricted to film festivals
and art house circuit. Overseas markets
together contribute less than 5 per cent to
the total theatricals. Bangladesh market is
considered as a potentially big market for
the industry however, cracking the market is
proving to be a challenge for the industry.
Tamil films derive 90 per cent of their overseas
demand from four key markets - U.S., Malaysia,
Cannes Film Market
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Hollywood in India
The consumption of Hollywood content in India is
rapidly changing amongst the audience driven by the
youth and emergence of new centres in tier2 and tier 3
cities where largely dubbed content performs well
franchise movies such as ‘Amazing Spider
Man 2’, ‘Transformers 4: Age of Extinction’,
and ‘X-Men: Days of Future Past’ continued to
perform well at the box office and generated
close to INR2.1 billion30 in gross box-office
collections in India.
014 was a good year for Hollywood films
in India, the gross box office collections
of top 10 films increased from INR3.2
billion (2013) to INR4.2 billion (2014). The
consumption of Hollywood content in India
is rapidly changing amongst the audience
driven by the youth and emergence of new
centres in tier2 and tier 3 cities where largely
dubbed content performs well. In 2014,
2
Though franchise and superhero movies draw
wider audience, small budget movies with
stronger scripts have also performed well.
Top 10 Hollywood films in India (2014)
Titles
Total GBO (INR million)
Amazing Spider Man 2
875
Transformers 4: Age Of Extinction
630
X-Men: Days Of Future Past
566
Interstellar
432
300: Rise Of An Empire
401
Godzilla
340
Captain America: The Winter Soldier
310
Hercules
290
Dawn Of The Planet Of The Apes
224
Exodus: Gods And Kings
189
Source: Kinematograph Renters Society
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Fast And Furious 7 has officially become the first Hollywood film
to enter Rs.100 crore club in India.
The James Wan-directed movie - which is the last film in the
series to star late actor Paul Walker - hit the impressive figure in
a three weekends. The film has earned Rs.104 crore net till now
in the domestic box office. (April 20, 2015). Apart from English,
the film released in Hindi, Tamil and Telugu on April 2 in India.
potential and popularity of Hollywood movies
amongst the non-English speaking audience
as well. Today, Hollywood movies are being
dubbed in various Indian regional languages
apart from Hindi.
‘Fault in Our Stars’ (83 screens) and ‘Gone
Girl’ (155 screens), while competing with big
budget Bollywood movies, reported INR52.9
million and INR34.9 million gross boxoffice collections in their respective opening
weekends.
Initially aimed at the English speaking Indian
audience, film studios are now realising the
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Monetisation of
Digital Video Content
For all the convenience and flexibility of streaming
content on to smartphones and tablets, the viewing
experience on a high-definition large screen TV will
likely remain unmatched. While smart TVs/connected
TVs are one way for consumers to watch on-demand
content on TVs, globally the market is shifting towards
over-the-top (OTT) devices
digital branded content.
hile revenues from digital delivery
of videos are still very small, the
industry is not discounting the
future potential and is making investments to
capitalise on the potential. Video advertising
is fast gaining prominence as advertisers are
looking to reinforce their marketing messages
on multiple screens to maximise impact by
integrating video-related advertising into their
digital mix. From the advertisers’ perspective,
video ads are similar to TV in terms of ability
to connect with the consumer but provide the
efficacy and direct targeting with the ability to
track, measure, analyse and monetise online
campaigns in real time.Also, video ads are an
effective way to target the young and affluent
demographics for whom consumption habits
have shifted significantly to digital media.
Social media provides a ‘multiplier effect’ for
video ads since video ads when done right can
get shared multiple times and go viral.
W
There have been some successful examples
of this already – (i) MTV had two web series,
a fashion and lifestyle web series called
‘The Look’ and a fitness web series called
‘Get Fit’ in 2014, and (ii) The Viral Fever, a
YouTube channel debuted a sponsored web
series called ‘Permanent Roommates’, (iii)
One Digital Entertainment in association with
Virgin Atlantic Airways and VisitBritain had a
food and travel 20 episode series with Chef
Saransh Goila named ‘The Spice Traveller’.
While so far, monetisation of on-demand
content has been through advertising, scope
for subscription and pay-per-view revenues
for premium, value-added and exclusive
content is promising. In the medium term, as
internet accessibility improves further, there
will be increasing demand for customised and
premium content in India. This can make the
paid model more attractive for the digital video
platforms. Further, as observed in developed
Besides pure play advertising, platforms and
advertisers alike are also exploring made-for
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VOD Platforms in India
iTunes Store
Google Play store
•
Movies, TV shows, music, games,
books, podcasts
•
•
40,000+ movie titles and 190,000+
TV shows
Movies, TV shows, games, books in
English, French, Spanish and Hindi
Hotstar.com / Starsports.com
Ditto TV
•
TV shows from the Star stable in
seven languages
•
~150 live TV channels
•
•
~300 movies
TV shows from the Zee stable and
other broadcasters
•
Sports including live content
•
~3,000 movies across all major
Indian languages and English
Sony LIV/LIV Sports
Eros Now
•
All content from Sony Entertainment
banner
•
•
Sports including live content
~ 3,500 movies, including all of Eros
International’s movies and from
most major studios across Hindi and
regional languages
•
TV shows from mainstream Hindi and
regional channels
•
Music from Eros internal library and
other major music labels
Box TV
Bigflix
•
Movies in Hindi and English
•
•
TV content primarily from Sony, Big
Magic and library content
~ 2,000 movies in 13+ languages
Hungama.com
Spuul.com
•
•
1000+ movies from most major
production houses in India in Hindi
and regional languages
•
Hindi and Regional TV content,
primarily from Viacom18
900+ movies in 8+ languages
Cannes Film Market
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DishOnline
Everywhere TV
•
50+ live TV channels
•
75 live TV channels
•
Catch up TV content
•
catch up TV content from 24 channels
•
Movies
•
Movies
Pocket TV
Direct2Mobile
•
150 live TV channels
•
78 live TV channels
•
Catch up TV content from 13 channels
•
Catch up TV content
•
Movies
•
Movies
subscription package costing INR120 (USD 2)
has gained significant traction.
markets, there could likely be increasing
preference for ad-free content on digital
platforms for which users may be willing to
pay a premium. Increasing disposable income
seem to also be resulting in higher spend on
entertainment by the growing mid and high
income classes in India, particularly in urban
clusters.
One of the primary forces impeding the growth
of subscription and pay-per-view revenues is
the hassles that customers face while making
payments on digital platforms, even when they
are willing to pay. This is on account of:
Q Low credit card penetration
Viewers are expected to be selective in
paying for content and are expected to pay as
long as they see additional value in terms of
exclusivity or timing or availability. This has
been observed in the case of multiplexes and
DTH industry, which have managed to raise
average ticket prices and ARPUs, respectively,
consistently year on year by providing better
value. However, a key risk is that consumers
are becoming accustomed to free content
on digital media, and changing the habit of
consumers would be tricky.
Q Fear of using netbanking and credit cards
online due to security threats
Q Lack of experience in using e-wallet/mwallet
As a result, some digital platforms are using the
mobile carrier billing for payment collection,
but the high revenue share expected by Telcos
for billing is a barrier, especially since unlike in
the Mobile VAS space, Telcos do not manage
the delivery channel and customer acquisition,
but only the collection. The TV Everywhere
services by TV distribution platforms have an
advantage over other platforms, due to their
already existing customer billing relationship.
Even in a relatively mature market such as US,
TV Everywhere is growing faster than other
video streaming services such as YouTube,
Hulu and Daily Motion.
Currently, existing TV and film content has
been repurposed for viewing on digital media
but going forward, original content on digital
media can drive subscription revenues.
Sports can be another key driver for premium
subscription. For instance, StarSports.com’s
paid streaming for ICC Cricket WC 2015 for a
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05-05-2015 17:15:33
TV and Chromecast or gaming consoles such
as Xbox and PS3. There are already several
international as well as domestic devices
available in the market at different price
points and with different feature sets. While
these devices may not gain mass appeal in
India given their high prices, a segment of the
audience, is already adopting these devices
and the trend is expected to gain traction as
availability of premium quality content on
digital platforms improves.
OVER-THE-TOP DEVICES: THE FUTURE
TREND
For all the convenience and flexibility of
streaming content on to smartphones and
tablets, the viewing experience on a highdefinition large screen TV will likely remain
unmatched. While smart TVs/connected TVs
are one way for consumers to watch on-demand
content on TVs, globally the market is shifting
towards over-the-top (OTT) devices/Internet
STBs on account of high cost of replacement
of smart TVs, better user interfaces on OTT
devices, shortening technology life cycles,
and difficulty in receiving software updates
on smart TVs. These OTT devices could be
dedicated IP streaming devices such as Apple
Content is king on digital platforms
as well
While content will be one of the critical success factors, according to industry participants, it is also expected to be the
biggest drain on cash flows for digital video platforms.
The content licensing deals for digital rights largely remain on
minimum guarantee basis, while there are some deals, especially for ongoing TV shows and live TV streaming that are taking place on revenue share basis. Even internationally, in spite
of its scale, majority of the content deals for Netflix are on a
fixed cost basis and content costs constituted over 70 per cent
of revenues for Netflix in 2014.
Cannes Film Market
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05-05-2015 17:15:37
INDIAN
FILMS AT
CANNES
Official Film Selections from India at
Cannes International Film Festival
India_Film_Guide_2015_Inner_Pages_69-150.indd.indd 69
05-05-2015 17:59:01
Indian Films at Cannes
UN CERTAIN REGARD
Un Certain
Regard
CHAUTHI KOOT
by Gurvinder Singh
Screening Date and Time:
International Sales Contact:
15 May: 4:30 pm, Salle Debussy
Elle Driver
16 May: 11 am, Salle Bazin
Eva Diederix, Managing Director
[email protected]
22 May: 10 pm, Salle Debussy
Chauthi Koot unfolds in 1984 Punjab, a state in
turmoil, in the midst of Sikh militancy, in the midst
of fear and suspicion. The movie explores the horrible
plight of the common man as he finds himself trapped
between the army and the extremists.
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Credits
Original Title: Chauthi Koot
English Title: Fourth Direction
Length: 115 mins.
Language: Punjabi
Year of Production: 2015
Country of Production: India
Shot On: 4K digital
Projection Format: DCP
Sound: Dolby Surround
Crew:
Director: Gurvinder Singh
Producer: Kartikeya Narayan Singh
Co-Producers: Nina Lath Gupta, Catherine Dussart, Sunil Doshi, Gurvinder Singh
Creative Producer: Olivia Stewart
Associate Producers: Himmat Sarkaria, Michael Henrichs
Production Company: The Film Cafe, Mumbai
Supported Financially By: NFDC, Aide aux CinÉmas du Monde, Hubert Bals Fund,
Handmade Films, Paddy & Joan Leigh Fermor Arts Fund
Screenplay: Gurvinder Singh
Story: Waryam Singh Sandhu
Dialogues: Waryam Singh Sandhu & Jasdeep Singh
Director of Photography: Satya Rai Nagpaul
Sound Recording & Design: Susmit Bob Nath
Editing: Bhupesh Micky Sharma
Re-Recording Mixer: Bruno Tarriere
Music: Marc Marder
Production Design: Priyanka Grover
Costumes: Navjit Kaur
Cast:
Joginder: Suvinder Vikky | Beero (Wife): Rajbir Kaur | Mother: Gurpreet Kaur Bhangu
| Boy (Sukhdev): Taranjit Singh | Girl: Harleen Kaur | Hindu Man 1: Kanwaljit Singh |
Hindu Man 2: Harnek Aulakh | Sikh Man: Tejpal Singh | Train Guard: Gulshan Saggi
Cannes Film Market
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Un Certain
Regard
MASAAN
by Neeraj Ghaywan
Screening Date and Time:
International Sales Contact:
19th May, at 5PM.
Themba Bhebhe
Pathe International,
[email protected]
Four lives intersect along the Ganges – a lower-caste
boy in hopeless love, a daughter ridden with guilt of a
sexual encounter ending in a tragedy, a hapless father
with a fading morality, and a spirited child yearning
for a family, long to escape the moral constructs of a
small-town.
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Credits
Drishyam Films presents A Macassar Productions,
Sikhya Entertainment & Phantom Production
Directed by – Neeraj Ghaywan
Produced by – Manish Mundra, Mélita Toscan du Plantier and Marie-Jeanne Pascal,
Guneet Monga, Shaan Vyas, Vikas Bahl, Vikramaditya Motwane & Anurag Kashyap
Co–Producer – Dipa De Motwane, Sophie Seydoux,
ARTE France CINEMA & PATHE Production
Cinematography - Avinash Arun Dhaware
Screenplay & Lyrics - Varun Grover
Original Music composed & orchestrated by - Bruno Coulais
Songs composed by - Indian Ocean
Edited by - Laure Gardette
Consulting Editor - Nitin Baid
Sound Designers - Gilles Benardeau, Sanjay Maurya & Allwin Rego
Costume Designer- ShrutiKapoor
Production Designer- RanjitSingh
Casting Director- Mukesh Chabbra
Action Director –ShamKaushal
Sound Mixing - Gilles Benardeau
Associate Producer - Ranjan Singh & Rati Shankar Tripathi
First Assistant Director - Karuna Dutt
On Set Sound Recordist - VinitD'Souza
Makeup Designer - Shrikant Desai Principle
Cast
Richa Chadda | Sanjay Mishra | Vicky Kaushal | Shweta Tripathi | Vineet Kumar |
Pankaj Tripathi | Nikhil Sahni | Bhagwan Tiwari | Bhupesh Singh
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05-05-2015 17:59:04
NATIONAL
FILM AWARDS
Winners of the 62nd National Film
Awards for the year 2014
Cannes Film Market
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Indian National Film Awards 2014
INDIRA GANDHI AWARD FOR BEST
DEBUT FILM OF A DIRECTOR
BEST
FEATURE
FILM
Asha Jaoar Majhe (Bengali)
Producer: F.O.R Films Pvt. Ltd.
Director: Aditya Vikram Sengupta
Swarna Kamal and
` 1,25, 000/- each to the Producer and Director
For the portrayal of routine ordinary life with extraordinary
cinematic finesse.
BEST POPULAR FILM PROVIDING
WHOLESOME ENTERTAINMENT
Court
(Marathi, Hindi,
Gujarati &
English)
Mary Kom (Hindi)
Producer: Zoo
Entertainment Pvt. Ltd.
Producer: Viacom 18 Motion Pictures
Director: Omung Kumar
Director: Chaitanya
Tamhane
Swarna Kamal and
` 2,00,000/- to the Producer and Director
Swarna Kamal and
` 2,50,000/- each to the
Producer and Director
For an inspiring tale of a woman who becomes a national
icon through her determined pursuit of sporting excellence.
COURT is a powerful and
stark depiction of the
mundaneness of judicial
procedure
revealed
brilliantly by the film’s
form, forcing us to reflect
on the heartwrenching
insensitivity of institutional
structures.
BEST FILM ON SOCIAL ISSUES
Chotoder Chobi (Bengali)
Producer: Shree Venkatesh Films Pvt. Ltd.
Director: Kaushik Ganguly
Rajat Kamal and
` 1,50,000/- each to the Producer and Director
For its empathetic portrayal of marginalized people and their
struggle for a life of dignity.
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BEST FILM ON ENVIRONMENT
CONSERVATION/PRESERVATION
BEST ACTOR
Ottaal (Malayalam)
Producer: Director Cutz Film Company (P) Ltd.
Director: Jayaraj
Rajat Kamal and
Nanu Avanalla
Avalu (Kannada)
Ottaal, a visual poem, expresses the beauty and serenity of
the protagonist’s rural environment and a way of life whose
value is measured by the poignancy of its loss.
BEST CHILDREN’S FILM
Vijay
Rajat Kamal and
` 50,000/For his subtle and
nonstereotypical playing
of a woman trapped in a
man’s body, portraying
a gamut of emotions as
s/he struggles through
confusion, rejection and
humiliation to finally
chart her own course
with confidence and
dignity.
Kaakkaa Muttai (Tamil)
Producer: Grass Root Film Company
Director: Manikandan M
&
Elizabeth Ekadashi (Marathi)
Producer: Essel Vision Productions Ltd.
Director: Paresh Mokashi
Swarna Kamal and
(Cash component to be shared between films)
Kaakkaa Muttai for narrating a charming story of two
brothers who are unaware of their deprived status and have
a confrontation with the tastelessness of globalization.
Elizabeth Ekadashi is a delightful tale that reaffirms
children's ability to negotiate the complexities of life with
relative ease.
BEST DIRECTION
Chotushkone (Bengali)
Srijit Mukherji
Swarna Kamal and
` 2,50,000/For its brilliantly reflexive use of the cinematic idiom through a playful and innovative
mise-en-scene that tautens to an unexpected and gripping climax.
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BEST ACTRESS
BEST CHILD
ARTIST
Queen (Hindi)
Kangana Ranaut
Rajat Kamal and
` 50,000/For an endearingly etched out performance that is grounded
in contextual specificity and at the same time is disarmingly
spontaneous as to appear almost improvisatory.
BEST SUPPORTING ACTOR
Kaakkaa Muttai
(Tamil)
J. Vignesh
AND
Jigarthanda (Tamil)
Bobby Simhaa
Ramesh
Rajat Kamal and
` 50,000/-
Rajat Kamal and
` 50,000/- (Cash
component to be shared)
For an engaging portrayal of a dreaded Mafia don who plays
both the villain and the comic with a rare flamboyance and
abandon.
For their portrayal of
inseparable siblings
living in a slum who
innocently struggle with
rare dignity to acquire
what attracts them
in this vast market of
products unleashed by
a liberal economy only
to realise the harsh
reality of invincible class
boundaries.
BEST SUPPORTING ACTRESS
Pagdi The Honour (Haryanavi)
Baljinder Kaur
Rajat Kamal and
` 50,000/For a very expressive performance as a gritty rustic woman
who struggles as wife and mother to keep her family intact
in a society obsessed with patriarchal honour.
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BEST MALE PLAYBACK SINGER
BEST EDITING
Haider (Hindi)
Sukhwinder Singh (For the song Bismil)
Rajat Kamal and
` 50,000/For a powerful rendition which effectively reflects the agony
and anger of the protagonist.
BEST FEMALE PLAYBACK SINGER
Saivam (Tamil)
Jigarthanda
(Tamil)
Uthara Unnikrishanan (For the song Azhagu)
Vivek Harshan
Rajat Kamal and
` 50,000/-
Rajat Kamal and
` 50,000/-
For evoking an emotional resonance through the purity and
innocence of her voice.
For structuring the
different narratives of
raw cruelty and urban
cunning that eventually
intermingle with
positive and humourous
overtones through
skillful editing.
BEST CINEMATOGRAPHY
Sudeep Chatterjee
Rajat Kamal and
` 50,000/- each
For exhibiting a wide spectrum of space and time while
effortlessly knitting the emotional fabric of the film.
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BEST SCREENPLAY
BEST MAKE-UP
ARTIST
i) Screenplay Writer (Original)
Srijit Mukherji
Rajat Kamal and
` 50,000/-
Nanu Avanalla
Avalu (Kannada)
Chotushkone for the masterful telling of a taut suspense
thriller which weaves a sinister web around the journey and
lives of four egotistical characters.
Nangaraju & Raju
ii) Screenplay Writer (Adapted)
Rajat Kamal and
` 50,000/-
Ottaal (Malayalam)
For the realistic creation
of gender duality in
a character through
different phases of life.
Joshy Mangalath
Rajat Kamal and
` 50,000/Ottaal for beautifully transposing Anton Chekov’s short
story onto a canvas of nature that enhances the shades of
the original.
iii) Dialogues
BEST COSTUME
DESIGNER
Haider (Hindi)
Vishal Bhardwaj
Rajat Kamal and
` 50,000/Haider for the multi layered and resonant dialogues that
evoke angst and passion with crispness and brevity.
Haider (Hindi)
BEST PRODUCTION DESIGN
Dolly Ahluwalia
Rajat Kamal and
` 50,000/For capturing the essence
of the characters and
moods with creative
flourish.
Nachom – IA Kumpasar (Konkani)
Aparna Raina
Rajat Kamal and
` 50,000/For convincingly recreating spaces from a different era and
with minute attention to detail.
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BEST LYRICS
BEST MUSIC
DIRECTION
Saivam (Tamil)
(Azhagu)
NA. Muthukumar
Rajat Kamal and ` 50,000/-
i) Songs
Haider
For embodying the world as seen through the eyes of a child
using common place images to make an appeal to an adult
world.
(Hindi)
BEST AUDIOGRAPHY
Vishal Bhardwaj
Rajat Kamal and
` 50,000/For
developing
the
conflict of the inner and
outer landscape through
haunting music.
ii) Background
Score
1983 (Malayalam))
Gopi Sunder
Rajat Kamal and
` 50,000/For maintaining the tempo
of the film with an in-sync
background score.
i) Location Sound Recordist
Khwada (Marathi)
Mahaveer Sabbanwal
Rajat Kamal and
` 50,000/Khwada for its excellent live sound quality which skillfully
captures all the ambient sounds with the right tonal
balance.
ii) Sound Designer
Asha Jaoar Majhe (Bengali)
Anish John
Rajat Kamal and
` 50,000/Asha Jaoar Majhe for creating a brilliant soundscape which
enhances the narrative even in the absence of the spoken
word.
iii) Re-recordist of the final mixed track
Nirbashito (Bengali)
Anirban Sengupta & Dipankar Chaki
Rajat Kamal and
` 50,000/Nirbashito for the seamless movement from chaos into the
quietness of solitude while integrating various elements of sound.
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BEST CHOREOGRAPHY
Haider (Hindi)
(Bismil)
Sudesh Adhana
Rajat Kamal and
` 50,000/For the evocative fusion of performative grammars,
interweaving a staccato whirling of masculinised bodies
with larger than life puppets, to create a dance that is firmly
embedded within the narrative.
SPECIAL JURY AWARD
Khwada (Marathi)
Director: Bhaurao Karhade
Rajat Kamal and
` 2,00,000/For a hard-hitting but restrained narration of the harsh
realities of a nomadic shepherd community who are in
search of stability.
The National Film awards have over the
years brought the best talent present in
India Cinema to national limelight. In its
over a half a century long history, the
National Film Awards have nurtured
numerous talent who are now national
icons and also known internationally.
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BEST ASSAMESE FILM
BEST HINDI FILM
Othello
Producer: Artha Films
Director: Hemanta Kumar Das
Rajat Kamal and
Queen
Producer: Phantom
Films Pvt. Ltd. & Viacom
18 Motion Pictures
Director: Vikas Bahl
Rajat Kamal and
` 1,00,000/- each to the
For a delightful portrayal
of a young girl who
emerges
from
her
cocoon of diffidence and
middleclass mores to
discover the pleasure
and fulfillment of a life
lived on her own terms.
For its tangential evocation of the Shakespeare play as
it explores mistrust and prejudice in a society ridden with
political turmoil.
BEST BENGALI FILM
Nirbashito
Producer: Kaushik Ganguly Productions
Director: Churni Ganguly
Rajat Kamal and
For its poignant articulation of the suffocation one
experiences when exiled in a land that is not one’s own, as
a price that is paid for asserting one’s right to freedom of
expression.
BEST KANNADA FILM
Harivu
Producer: Om Studio
Director: Manjunath S. (Mansore)
Rajat Kamal and
1,00,000/- each to the Producer and Director
For the lingering pathos of a father’s struggle to provide
medical treatment to his only child and his long trek back
home with his son’s corpse.
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BEST MALAYALAM FILM
BEST KONKANI
FILM
Ain
Producer: 1: 1: Enternatments
Director: Sidhartha Siva
Nachom – IA
Kumpasar
Producer: Goa Folklore
Productions
Rajat Kamal and
For its gently nuanced narrative in which a carefree young
man embraces responsibility and compassion for the lives
of others.
Director: Bardroy
Barretto
Rajat Kamal and
` 1,00,000/- each to the
For its nostalgic recovery
of a distinctive musical
legacy, as told through
the rollercoaster lives
of its practitioners, that
has remained unsung
despite its influence upon
Bombay cinema.
BEST MARATHI FILM
Killa
Producer: JAR Pictures & M R Film Works
Director: Avinash Arun
Rajat Kamal and
For its warm portrait of a young boy as he emerges from the
shadows of dislocation and loss in an unfamiliar environment
to embracing what life has to offer.
BEST TAMIL FILM
BEST ODIYA FILM
Kuttram Kadithal
Aadim Vichar
Producer: JSK Film Corporation
Director: Bramma.G
Producer: Mohapatra Movie Magic Pvt. Ltd.
Director: Sabyasachi Mohapatra
Rajat Kamal and
` 1,00,000/- each to the Producer and
Director
Rajat Kamal and
` 1,00,000/- each to the Producer and
Director
For the pervasive empathy with which
it examines the guilt and the anger that
follows upon a school teacher’s impulsive
slapping of a student.
For its vibrant portrayal of a tribal
community whose enabling humanism
shows a way out of pettiness and
prejudice.
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BEST TELUGU FILM
BEST PUNJABI
FILM
Chandamama Kathalu
Producer: Working Dream Production
Director: Praven Sattaru
Punjab 1984
Producer: White Hill
Production India Pvt. Ltd.
Director: Anurag Singh
Rajat Kamal and
For its skilful interweaving of stories featuring a variety
of characters bound together by a common anxiety about
securing their future.
Rajat Kamal and
` 1,00,000/- each to the
For its searing portrayal
of how ordinary lives
and simple dreams are
shattered in a time of
militancy.
BEST RABHA FILM
Orong
Producer: Suraj Kr. Duwarah, Aucto Creation
Director: Suraj Kr. Duwarah
Rajat Kamal and
For its sensitive portrayal of a young man as he drifts through
a life that offers little promise or excitement.
BEST HARYANVI FILM
Pagdi The Honour
Producer: V R Entertainers
Director: Rajeev Bhatia
Rajat Kamal and
For capturing honestly the abrasive fabric of a patriarchal
society that places an inordinate premium on honour,
and also offering the possibility of liberation through an
acknowledgement of others’ pain.
Cannes Film Market
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BEST NON FEATURE FILM
SPECIAL
MENTION
Ain
(Malayalam)
Musthafa
CERTIFICATE
For the minute and
nuanced manner
in which he assays
the imperceptible
transformation of a
carefree youth into a
compassionate and
responsible young man.
Nachom – IA
Kumpasar
(Konkani)
Palomi Ghosh
CERTIFICATE
For her extraordinarily
energetic performance
as a girl whose infectious
passion for singing and
love comes at enormous
personal cost.
Killa (Marathi)
Bhootnath
Returns (Hindi)
Parth Bhalerao
CERTIFICATE
For lovable portrayals
with rare aplomb of
an impish and caring
child in both Killa and
Bhootnath Returns.
Tender is the Sight
Producer: Films Division
Director: Torsha Banerjee
Swarna Kamal and
For its sensitive and lyrical portrayal of ten-year-old
Hassirbullah, who, though visually challenged, creates a
symphony of sounds. The film captures his universe, his life
and his talent, softly and gently.
BEST DEBUT FILM OF A DIRECTOR
Goonga Pahalwan
Producer: Drishti Media
Director: Mit Jani, Prateek Gupta & Vivek Chaudhary
Rajat Kamal and
` 75,000/- each to the Producer and Director*
For its fun, yet mature portrayal of its protagonist, a champion
at the Deaf Olympics. It pointedly questions the politics that
impede this capable athlete’s route to the Rio Olympics.
BEST ANTHROPOLOGICAL /
ETHNOGRAPHIC FILM
Qissa – e – Parsi : The Parsi Story
Producer: Public Service Broadcasting Trust
Director: Divya Cowasji & Shilpi Gulati
Rajat Kamal and
` 50,000/- each each to the Producer & 50,000/Director*
For its light-hearted yet comprehensive telling of the story
of India’s much loved community, the Parsis. It explores
their history, the philosophy of their faith, their enterprise
and their way of life, with delight and laughter.
86
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BEST BIOGRAPHICAL/ HISTORICAL
RECONSTRUCTION
BEST FILM ON
SOCIAL ISSUES
Aamaar Katha : Story of Binodini
Director: Tuhinabha Majumdar
Can’t Take This
Shit Anymore
Producer: Bhagirathi
Films
Rajat Kamal and
` 50,000/- each to the Producer and Director
For its stylistic and poetic portrayal of the 19th century theatre
actress Binodini Devi’s autobiography.
Director: Vinod Kapri
For incisively highlighting
the acute desperation
of rural women and the
problems they face from
the lack of basic and
essential facilities for
sanitation.
Daughters of
Mother India
Producer: V2 Film &
Design Pvt. Ltd.
Director: Vibha Bakshi
Rajat Kamal and
` 50,000/- each to the
Producer & Director
(cash component to be
shared)
For
explicitly
and
determinedly turning the
spotlight on the burning
issue of rape in the
country and the brutal
mentality that drives it.
BEST ARTS / CULTURAL FILM
Kapila
Director: Sanju Surendran
Rajat Kamal and
` 50,000/- each to the Producer & Director
For its unique and expressive rendering of Kapila’s sheer
artistry over Kudiyattam, the world’s oldest theatrical art
form.
BEST PROMOTIONAL FILM (to cover
tourism, exports, crafts, industry etc)
Documentation of Clay Image Makers
of Kumartuli
Producer: Indira Gandhi National Centre for the Arts
Director: Ranajit Ray
Rajat Kamal and
For its extensive study of the craft and community of the
clay makers in the context of changing times.
Cannes Film Market
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05-05-2015 17:59:32
BEST
ENVIRONMENT
FILM INCLUDING
AGRICULTURE
BEST EXPLORATION/ ADVENTURE FILM
(TO INCLUDE SPORTS)
Life Force – India’s Western Ghats
Producer: Grey Films India Pvt. Ltd.
Director: Nallamuthu Subbiah
Rajat Kamal and
I Cannot Give
You My Forest
For taking the viewer deep into the Western Ghats and
engagingly revealing its rare and incredible biodiversity.
Producer: Top Quark
Films Pvt. Ltd.
Director: Nandan
Saxena & Kavita Bahl
BEST INVESTIGATIVE FILM
Rajat Kamal and
Producer & Director
Phum Shang
For its concerned and
empathetic exploration
of the tribal communities
in Rayagada, Orissa, who
derive their sustenance
and identity from the
forest.
Director: Haobam Paban Kumar
Rajat Kamal and
For its quiet and fair-hearted investigation of the fishermen
communities and their floating dwellings on Loktak Lake,
Manipur, even as government agencies and conservationists
struggle to save the lake.
BEST EDUCATIONAL FILM
Komal
Behind the Glass Wall
Producer: Climb Media India Pvt. Ltd.
Producer: Gaahimedia
Director: Prashant Shikare
Director: Aruna Raje Patil
KOMAL – For effectively and concisely
communicating essential information to
children to protect themselves from sexual
abuse.
Rajat Kamal and ` 50,000/- (cash
component to be shared)
BEHIND THE GLASS WALL –For its
exhaustive exploration of the world
and challenges of the autistic and their
caregivers.
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BEST ANIMATION FILM
BEST SHORT
FICTION FILM
Sound of Joy
Producer: Aura Cinematics
Director: Sukankan Roy
Animator: Rishi Sanay
Mitraa
Producer: Athaansh
Communications
Director: Ravindra
Jadhav
Rajat Kamal and ` 50,000/- each to the Producer, Director
and Animator
For its flowing and engaging animation style in telling the
stories from Vivekananda’s childhood and its emphasis on
developing the power of concentration.
SPECIAL JURY AWARD
Rajat Kamal and
Producer & Director
For
its
empathetic
portrayal of its pivotal
character’s
sexual
orientation, and the
question of freedom
around it. Shot in
monochrome, the film
adds to the antiquity for
the era it is set in.
A Poet, A City & A Footballer
Director: Joshy Joseph
Rajat Kamal and
` 50,000/-each to the Producer and Director
For demonstrating the power of cinema in weaving together
life, poetry and reflections of its protagonist in the face of
impending death.
BEST FILM ON FAMILY VALUES
Towards the Silver Lining
Producer: Satyajit Ray Film & Television Institute
Director: Bhabani Tamuli
Rajat Kamal and ` 50,000/- each to the Producer and
Director
For its sensitive portrayal of a paraplegic girl who builds
a house for her mother, and the touching bond between
them.
Cannes Film Market
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BEST CINEMATOGRAPHY
BEST DIRECTION
Aamaar Katha: Story of Binodini
Indraneel Lahiri
Rajat Kamal and ` 50,000/- to Cameraman
Aaranyak
For its stunning and sensual visual imagery that brings the
story of Binodini alive.
Renu Savant
Swarna Kamal and
` 1,50,000/For
its
existential
definition of layered
thoughts and emotion
that move through a
reflective search to end
in an ironic arrival into
the real.
BEST AUDIOGRAPHY
Tender is the Sight
Audiographers: Anindit Roy, Ateesh Chattopadhyay, &
Ayan Bhattacharya
Rajat Kamal and ` 50,000/-*
The film travels through the imaginary line of manifest and
unmanifest worlds of visual and sound that balance effortlessly,
imprinting the audience with a haunting aural experience.
SPECIAL MENTION
Gunjaa
5 O’Clock Accidents
Director: Mrinal Dev
Director: Ruchir Arun
Certificate
Certificate
For poignantly telling the story of Gunjaa,
a young girl in Bihar, and her innocent but
ironic understanding of death.
For its gritty story and compelling treatment
of a voyeuristic teenager and the darkness
that comes with his obsession.
Seek and Hide
Director: Manoj Kumar Nitharwal
Certificate
For its fine juxtaposition of a child’s
expression of fear with the unawareness of
the parents to elucidate a complex story of
paedophelia.
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BEST NARRATION /
VOICE OVER
BEST EDITING
Tigress Blood
Nitya Kalyani – Oru
Mohiniyattam Patham
Andi Campbell Waite
Ambooty and Devi S
Rajat Kamal and
` 50,000/-
Rajat Kamal and
` 50,000/-
For seamlessly structuring the inner worlds
of four tigress sisters through an incisive
cinematic arrangement of their outer
spaces.
For the depth of its research and its poetic
rendition of the history of Mohinyattam
across the mighty empires along the
riverbanks of Tungabhadra to Thanjavur.
BEST WRITING ON CINEMA
BEST BOOK ON
CINEMA
Silent Cinema:
(1895-1930)
Author: Pasupuleti
Purnachandra Rao
Swarna Kamal and
75000 to the author
Publisher: EMESCO
BOOKS
Swarna Kamal and
` 75000 to the Publisher:
Pasupuleti Purnachandra
Rao’s work on silent cinema
commands attention. It is
as worthy of a scholar’s
consideration as a common
cinegoer’s time. He walks
down the memory lane to
come up with a work that
is likely to go down as a
benchmark for serious
research in Indian cinema.
SPECIAL MENTION
Pride of Tamil
Cinema (19312013)
G. Dhananjayan
Only Certificate
G. Dhananjayan’s Pride of
Tamil Cinema deserves
careful
consideration
for the sheer expanse of
the work. The book is a
painstaking effort which
will have a relevance many
years down the line.
Cannes Film Market
BEST FILM
CRITIC
Tanul Thakur
Swarna Kamal and
` 75000/- to the Critic:
Tanul Thakur
Tanul Thakur’s work is like
a breath of fresh air. In
brevity lies the strength
of Thakur’s analysis of
crests and troughs of
Indian cinema. Without
being didactic, Thakur is
able to provide a different
perspective to seemingly
disparate elements and
string them together in a
lucid fashion.
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05-05-2015 17:59:44
DADASAHEB
PHALKE AWARD
WINNERS
Cannes Film Market
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Dadasaheb Phalke Award
Dadasaheb Phalke
Award
The Award was introduced in 1969 by the government
to recognise the contribution of film personalities
towards the development of Indian Cinema
Devika Rani Roerich
1969
B.N. Sircar
1970
Prithviraj Kapoor
1971
Pankaj Mullick
1972
Sulochana (Ruby Myers)
1973
B.N. Reddy
1974
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05-05-2015 17:59:45
Dhiren Ganguly
1975
Kanan Devi
1976
Nitin Bose
1977
R.C. Boral
1978
Sohrab Modi
1979
P. Jairaj
1980
Naushad Ali
1981
L.V. Prasad
1982
Durga Khote
1983
Cannes Film Market
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05-05-2015 17:59:47
Satyajit Ray
1984
V. Shantaram
1985
B.Nagi Reddy
1986
To honour the Father of Indian Cinema,
Dhundiraj Govind Phalke, the National
Film Awards named the most prestigious
and coveted award of Indian Cinema
after him. He is the man who made
the first Indian Feature film Raja
Harishchandra in 1913
Raj Kapoor
1987
96
Ashok Kumar
1988
Lata Mangeshkar
1989
05-05-2015 17:59:50
A. Nargeswara Rao
1990
B.G. Pendharkar
1991
Dr. Bhupen Hazarika
1992
Majrooh Sultanpuri
1993
Dilip Kumar
1994
Dr. Rajkumar
1995
Shivaji Ganesan
1996
Kavi Pradeep
1997
B.R. Chopra
1998
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Hrishikesh Mukherjee
1999
Asha Bhosle
2000
Yash Chopra
2001
Dev Anand
2002
Mrinal Sen
2003
Adoor Gopalakrishnan
2004
Shyam Benegal
2005
Tapan Sinha
2006
Manna Dey
2007
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V.K. Murthy
2008
D. Ramanaidu
2009
K. Balachander
2010
Soumitra Chatterjee
2011
Pran
2012
Gulzar
2013
Shashi Kapoor
2014
Dadasaheb Phalke Award is
given to a film personality
for his/her outstanding
contribution to the growth
and development of Indian
Cinema. The award comprises
a Swarna Kamal, a cash Prize
of Rs. 10,00,000/- (Rupees
Ten Lakhs) and a shawl.
Cannes Film Market
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05-05-2015 18:00:00
PEOPLE
Cannes Film Market
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05-05-2015 18:00:48
Indian Delegates at Cannes
MINISTRY OF INFORMATION & BROADCASTING
COL RAJYAVARDHAN RATHORE • Minister of State for
Information & Broadcasting
K SANJAY MURTHY • JS (Films) • jsfi[email protected]
The Ministry of Information & Broadcasting in association with Federation of Indian Chambers of Commerce
and Industry participate in the Cannes Film Market to project Indian cinema, facilitate to syndicate and
market Indian films and film services in India.
The India Pavilion at Cannes will provide a platform for the Indian filmmakers and producers (mainstream and
independent) to market Indian films with international territories and engage in co-production with Europe.
The objective is to boost the profile of Indian films, facilitate business to business meetings, production
services and Indian locales to the world. The India Pavilion will have representation from across the country
and participation including production companies, line producers, post production studios and exporters.
There would be a team available for answering queries from delegates. Shooting location guides and tourism
brochures would be kept in India Pavilion for distribution to delegates.
DIRECTORATE OF FILM FESTIVALS
C SENTHIL RAJAN • Director, DFF
• [email protected]
RIZWAN AHAMD • Deputy Director DFF/IFFI
TANU RAI • Deputy Director DFF/IFFI
Directorate of Film Festivals (DFF) was set up by the Government of India in 1973 to organize International
and National Film Festivals within the country. DFF facilitates India’s participation in Festivals abroad,
arranges programmes of foreign films in India and Indian films abroad and holds the National Film Awards
function.
As a vehicle of Cultural Exchange, DFF promotes International friendship, provides access to new trends in
world Cinema, generates healthy competition and, in the process, helps to improve the standards of Indian
Films.
INTERNATIONAL FILM FESTIVAL OF INDIA
International Film Festival of India aims at providing a common platform for the cinemas of the world to
project the excellence of the film art; contributing to the understanding and appreciation of film cultures of
different nations in the context of their social and cultural ethos; and promoting friendship and cooperation
among people of the world. The 46th edition of IFFI is slated for November 20-30, 2015 in Goa.
The IFFI’s founding principles centre on discovery, promotion and support of filmmaking of all genres – thus
bringing together the diversity of the forms, aesthetics and contents. The Festival is an assembly of people
and nations where the world’s greatest film artistes hold hands with emerging talents on an equal footing. It
is also a forum for film professionals to communicate face to face with film lovers around the world.
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FEDERATION OF INDIAN CHAMBERS OF COMMERCE
AND INDUSTRY (FICCI)
LEENA JAISANI • Senior Director & Head -Entertainment Division
• leena.jaisani@ficci.com
SAMIR KUMAR • Deputy Director • samir.kumar@ficci.com
VIKAS SARVANG • Deputy Director
DHARMENDER SINGH • Executive
Federation of Indian Chambers of Commerce and Industry (FICCI) will be managing the India Pavilion at
Cannes Film Market under the aegis of the Ministry of Information & Broadcasting, Government of India. The
objective of the India Pavilion is to promote Indian cinema across linguistic, cultural and regional diversity,
with the aim of forging an increasing number of international partnerships in the realms of distribution,
production, filming in India, script development and technology, and Promoting film sales and syndication.
Established in 1927, FICCI is the largest and oldest apex business organization in India. A not-for-profit
organization, FICCI is the voice of India’s business and industry, encouraging debate, articulating the private
sector’s views and influencing policy.
One of FICCI’s most important objectives is to facilitate communication and exchange between key industry
figures, influencers and policy makers. To this end, the FICCI Media and Entertainment Division organizes
FICCI FRAMES, Asia’s largest and most definitive annual global convention on the business of entertainment.
The 16th edition of FICCI FRAMES, FICCI’s flagship event and Asia’s largest and most definitive annual
global convention on the business of entertainment, will be held in Mumbai. Can be reached at the India
Pavilion, 111 Village International Riviera.
MEET US AT INDIA PAVILLION,
111 VILLAGE INTERNATIONAL,
CANNES
Cannes Film Market
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AGHOR RAJ PRODUCTIONS PVT LTD
BHAVNA ISRANI • Head of Business Development
[email protected]
VIVEIK TEWARI • Managing Director
Films. Music. Distribution. The literal meaning of Aghor is A + Ghor meaning non terrible. Aghor, simply put,
means ‘the simplest’. Aghor Raj in the truest sense means the ‘rule of the simplest’. We at Aghor Raj, believe
he who is simple and uncomplicated will rule the world. We apply the same philosophy when it comes to our
work. The simpler the means of entertainment – the more it engages the audience.
Objective : Films, music and television in India are the biggest avenues for entertainment. Aghor Raj
Productions Pvt Ltd strives to bring to you cinema that believes in strong narrative and engaging characters.
Aghor Raj Music India Pvt Ltd vouches to bring to the music lovers, music that is pure and serene. Our goal is
to be a one-stop hub for all entertainment.
ALLIANCE MEDIA & ENTERTAINMENT PVT. LTD
SUNIL DOSHI • CEO • [email protected]
Alliance Media & Entertainment Pvt Ltd is a company with interest in acquisition, distribution, talent
management, advertising and film production.
Objective at Cannes: Acquisition (including remake rights) of Film, Short Films and Documentaries Content
for non-traditional distribution in India.
We enjoy a good business relationship with major European & Other World Sales Agents such as Wild Bunch,
Celluloid Dreams, FilmSharks, Co-production Office, Memento, Pyramide International, Films Distribution,
The Match Factory, Bavaria Films, Studio Canal, MK2, Pathe, Finecut, Becker Films, SVT, AB Svenska, etc.
Alliance also through its division Handmade Films which is a boutique production house aims to produce high
quality of films which are different, unique and out of the box in their approach, form and content.
ANURAG PICTURES
MATHEW GEORGE • Managing Partner
Anurag Pictures was formed in 1990. We are exporters and importers of feature films for distribution in
theaters. There are two partners Mr. Mathew George and his son Mr. George Mathew.
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ARKA MEDIAWORKS (P) LIMITED
NAGA SOBHANADRI YARLAGADDA • CEO
Founded in 2001, Arka Mediaworks is one of the leading TV and Movie production houses in India. Arka has
many successful long running TV shows and currently produces 6 TV serials across several Indian languages.
As a movie production house, Arka has produced several successful and critically acclaimed films such as
“Maryada Ramanna” and “Vedam”. Arka is currently producing “Baahubali”, a two part Indian epic directed by
director SS Rajamouli.
Objective: Scheduled to release worldwide in Summer 2015, Baahubali is one of the largest films to be
produced by a media house in India. Our objective is to get the widest possible international release for this
film.
BLOCKBUSTERS MOVIESSS PRIVATE LIMITED
GURMEET SINGH • Managing Director
Blockbuster Moviesss Pvt. Ltd. is the brain child of Mr. Gurmeet Singh who is also the Chairman and Managing
Director of the GCS Group of companies based out of Chandigarh. GCS Group is a Rs 400 million group that
has been in the business of imparting education, through the length and breadth of the country for over
two decades now. Blockbuster Moviesss has already co-produced a couple of ventures so far that would
be presented nationally and internationally in the following few months. Our objective here is to creative
commercially viable productions, that would be all out entertainers and viewable by the family. Our prime
focus would be on stories/movies that give a strong social message and this would be our contribution to the
society. These would be of all genres to suit all age groups with no bar of language discrimination or of any
other kind.
BOMBAY BERLIN FILM PRODUCTION LLP
KATHARINA SUCKALE • COO / Producer
[email protected]
Bombay Berlin Film Production [BBFP] is a company based in Mumbai, India. At Cannes Film Market,
BBFP looks forward to meet investors, distributors and world sales companies for two film projects for the
International as well as the Indian market. It also looks forward to meet producers and broadcasters, who
search for line producers in India, who have experience in producing in the West as well as in India.
As an Indian-German company based in Berlin and Mumbai we produce films for cinema and television for the
international market. We have been EP on the film “Prague”, released in 2013, co producer on the US-Indian
feature “Monologue”, developer of an animation series and other line production services. We are in postproduction of our latest German-Indian-US co-production “LOEV”.
Cannes Film Market
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CONFEDERATION OF INDIAN INDUSTRY
AMITA SARKAR • Deputy Director General • [email protected]
ANAMIKA KALIA • Deputy Director • [email protected]
KAVITA SAINI • Executive Officer • [email protected]
The Confederation of Indian Industry (CII) works to create and sustain an environment conducive to the
development of India, partnering industry, Government, and civil society, through advisory and consultative
processes. CII has been coordinating the India participation at the Cannes Film Market for over a decade,
positioning the Indian Entertainment industry on the global landscape. Apart from promoting select Indian
states as ideal shooting locales globally, the CII in their booth in Palais would also be coordinating B2B
meetings between Indian and international stakeholders. CII M&E division’s annual flagship conference ‘The
Big Picture Summit’ would take place on 19-20 September 2014 at New Delhi with the objective of “Taking
Indian M&E industry to $100 billion”. The theme for this year is ‘Make in India, Show the World’. We cordially
invite international delegations and participation for the Summit. Can be reached at PALAIS 01 Stand 22.02.
CUT TO CUT
SHOMSHUKLLA DAS • Director • [email protected]
UDITVANU DAS • Actor
Cut to Cut is an independent feature film production company based out of Mumbai, India. Cut to Cut has
produced the award winning features films such as Sandcastle (Best Cinematography, Tenerife IFF 2013), A
Holiday & A Picnic (Best Cinematography, Madrid IFF 2014, Best Male Lead, IFF World Cinema 2015). Their
latest offering is a psychological horror film, Hopscotch.
Objective : To showcase an award winning woman director and team driven thoughtful independent cinema
to a global audience
D2R FILMS
RAVI MUPPA • Head of Development •[email protected]
The production company is behind hit Bollywood films such as Shor in the City, Happy Ending, Go Goa Gone,
99 and Flavors. Owners Raj Nidimoru and Krishna DK, are a directing duo and have won many awards and
accolades for their unique story telling and fresh sense of humor. Their quest to explore various formats of
storytelling through films, TV content and New media has resulted in the formation of D2R Films.
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DISNEY INDIA
NEHA KAUL • Head - Intl Distribution, Syndication
MAMTA KAMTIKAR • Senior Manager - Intl
Distribution, Syndication • [email protected]
SNEHA SINGH • Senior Associate - Intl Distribution, Syndication
Bringing together the best of both worlds, the Walt Disney Company and UTV have formed Disney India
Studios - one of the leading film studios in the country. The activities of Disney India Studios span across
creative development, production, marketing, distribution, licensing, merchandising and syndication of films
worldwide.
Objective : Showcase of the current line up and commercial exploitation of theatrical and non-theatrical rights
of library content for European, South Asian, North Africa, Middle East, Russia, Far East and South/Latin
American markets. Our lead products for the season are ABCD 2, Phantom, Katti Batti and Jagga Jasoos.
Other popular titles are PK , Haider,, Kick, Khoobsurat. Also on offer is the studio’s award-winning library of
iconic Indian films.
DOCS & SHORTS
RAMESH TEKWANI • President • [email protected]
Docs & Shorts has been created to help the movie makers keep abreast of opportunities, techniques and
technology to make their movies, introduce their movies to audiences at festivals, in theatres;
If you are looking for good documentaries, shorts and good alternative content, especially from India
Contact Ramesh Tekwani, President, Academy of Research and Production for Docs & Shorts,
Independent Cinema and Alternate Content. Quite simply put “Docs & Shorts®”. (www.docsandshorts.org).
DQ ENTERTAINMENT INTERNATIONAL LIMITED
LAURENT AMAR • Directeur des relations
publiques internationales • [email protected]
DQ Entertainment International is engaged in high-end 3D & 3D Stereoscopic TV & Movie productions of
global Intellectual Properties such as The Jungle Book, Iron Man I & II, Casper I & II, Lassie & Friends,
Charlie Chaplin – the Legend, Little Prince TV Series & Movie, Little Nicolas TV Series & Movie, ThePenguins
of Madagascar,( for Nickelodeon) - 2 seasons and several others. The company has also developed TV movies
and series for the Indian market with Disney India, Nick ndia and Cartoon Network. DQ Entertainment
produces animated children’s content for worldwide licensing and distribution alongside partners such as
Walt Disney Television Animation ( for service) Nickelodeon ( for service), major French broadcasters TF-1/
M6/ France Televisions, major German broadcasters – ZDF Group, Italian broadcasters – RAI Fiction & RAI
Films, Al Jazeera (for 22 Arabic nations) and several other leading producers such as Classic Media-USA,
Method Animation-France, Moonscoop-France, Gaumont Alphanim-France etc.
Cannes Film Market
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DRISHYAM FILMS
MANISH MUNDRA • Founder and Promoter
• manish@drishyamfilms.com
SVETLANA NAUDIYAL • International Sales and Promotion
SHRADDHA CHAUHAN • Distribution and Marketing
• shraddha@drishyamfilms.com
We are a production company, looking forward to build a platform for unique voices of Indian independent
cinema and creating global content with rich Indian flavours. Masaan (Cannes 2015), Dhanak (Berlinale 2015)
and Umrika (Sundance 2015), are some of our recent productions. Our upcoming films include feature drama
Waiting by Anu Menon and experimental collaborative feature X-the film by eleven Indian directors.
ELEEANORA IMAGES
NILA MADHAB PANDA • Director • [email protected]
Eleeanora Images has produced over 70 documentaries, TVC’s, Short films and drama, two mega TV serials
and four feature films. The larger aim, though, has always remained to produce cinema aimed at sections
across the society, audiences, age groups and genres with a global perspective. The founder and managing
director Nila Madhab Panda’s vision has shown the outcome through the organisation.
The last two major film productions have been very successful. The highly acclaimed I Am Kalam, has
already won 28 International awards, one national award, two Industry award (Filmfare and screen) and
several nominations, which travelled over 60 International film festivals. The second film “Jalpari the desert
Mermaid” well received critically acclaimed as well as well received by the audience.
ERANGO MEDIA
AVI VASU • Director • [email protected]
AKSHATA HONAWAR • Executive Producer
Stories form the backbone of everything we do. Anything we work on is structured on the story it represents.
Whether is a visual or a literary medium we employ, the essence of the story is the strongest component. And
what makes good stories are great characters. At Erango, we aim to create unforgettable characters that live
extraordinary stories.
Objective : Our mission is to create productions which will be India’s unique contribution to the world of art.
Exceptional ideas, Captivating stories, Filmic creativity, Leading edge expertise all come together under one
banner ‘Erango’
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EROS ENTERTAINMENT
KUMAR AHUJA • President - Business Development
PRANAB KAPADIA • President Marketing & Distribution
ALICE COELHO • President - Business Development
Eros International Media Ltd is a leading global company in the Indian film entertainment industry that acquires,
co-produces and distributes Indian films across all available formats such as cinema, television and digital new
media. Eros International is part of Eros International Plc, which became the first Indian media Company to
raise capital and be listed on the New York Stock Exchange. Eros International has experience of over three
decades in establishing a global platform for Indian cinema. The Company has a competitive advantage through
its extensive and growing movie library comprising of over 1,200 films, which include Hindi, Tamil, and other
regional language films for home entertainment distribution. Eros International has built a dynamic business
model by combining the release of new films every year with the exploitation of its film library.
ESSEL VISION PRODUCTION LTD
GIRISH JOHAR • Film Division Revenue Head
AKASH CHAWLA • Business Head - Essel Vision Productions Ltd
With an ardour to create different content and an attempt to strike a balance between the quality and business
of feature films and television, Essel Vision Productions was instituted in June 2012 as a part of Essel Group
of Companies. The company has already made a mark on the map of Television and Feature Films; both in
Hindi and Marathi space.
With a glorious past of films like Gadar, Gulaal, Natrang, Kaaksparsh, Essel Vision has taken its fresh humble
beginnings to another high with the historical success of its Marathi venture ‘Duniyadaari’ and the critical
reception of ‘D Day’. Its other creation ‘The Lunchbox’ has already received accolades around the world. In
the television space also, the company is holding its flag high
FAIR FILMS
MUTHUVELU KUMAR • Chief Operating Officer
• kumar@fairfilms.in
FAIR FILMS is a istributor of Engish and non English films to India and SAARC countries. Our main activities
are film distribution, animation series, children’s programmes, reality shows. We are looking for different kinds
of feature films, TV series, reality shows for India and SAARC. We are looking for different kinds of feature
films.
Cannes Film Market
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FAIZEE PRODUCTION
KEITH GOMES • Director - Producer
Faizee Production was founded in 2006, and our first feature production Shagird directed by National award
winning director Tigmanshu Dhulia. The film released in 2010. Currently in production is a regional feature
Masti and Mystery which is slated for a 2015 release.
FILM FEDERATION OF INDIA
TRIPAT PAUL AGGARWAL • Vice President
RAVI KOTTARAKARA • Vice President
• kotfi[email protected]
K S RAMA RAO • Vice President FFI
SUPRAN SEN • Secretary General
• supransen.fi[email protected]
The Film Federation of India (FFI) is an apex body of the Indian film producers , distributors, exhibitors and
studio owners. The primary objective of the Federation is to promote commerce in general and in particular
to promote, protect and watch over the interests of the Indian Film Industry and allied industries and trades,
including the interests of producers, distributors and-exhibitors of films and of all other persons connected
with the film industry. The FFI selects the Indian official entry for the Academy Award for Best Foreign
Language Film each year.
FILM & TELEVISION PRODUCERS GUILD OF INDIA LTD
KULMEET MAKKAR • Chief Executive Officer
• kulmeet@filmtvguildindia.org
GUILD - Enhancing the value of Cinematic Arts- The Film & Television Producers Guild of India Limited is an
autonomous non-profit premier film trade body comprising of industry stakeholders, is to be a principal negotiator
with the Government on various critical issues, resolving intra and external trade disputes of the industry, liaising
with foreign delegations to provide international exposure for its members, arranging conclaves for the benefit
of members. Established in 1954 by the stalwarts of the Indian film industry including B.N. Sircar, S. Mukherjee,
The Film & TV Producers Guild is today the most progressive body in show business.. Over the years, the Guild
has also been instrumental in organizing fund raisers such as Help Telethon Concert in aid of tsunami victims
and seminars & conventions with influential trade bodies like FICCI and CII. Also, the Guild has instituted the
Apsara Film & Television Producers Guild Awards for excellence in film and television.
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FILM VILLAGE SALES
ABHIJEET SINGH BAGHEL • Executive Director Buyer
• asb@filmvillage.in
Film Village is a new-age Sales and Licensing Co. that represents select Indian titles for world sales and allrights of Foreign language films for Indian subcontinent. FilmVillage has its own distribution arm for select
Bollywood titles in Europe. YRF’s “Mardaani” starring Rani Mukherji is our latest release in Poland. FilmVillage
specializes in licensing of Intellectual property rights and also packages feature-film projects in popular
genres worldwide.
We are looking for acquisition of new-age Bollywood / Indian Crossover titles for European territories and
Licensing exclusive catalogue of blockbuster German titles for Re-make, adaptation and brand extension.
FOX STAR STUDIOS INDIA PVT LTD.
ROHIT SHARMA • Head of International Sales & Distribution
KANIKA VASUDEVA • VP - International Sales & Distribution Buyer
Fox Star Studios India is a joint venture between 20th Century Fox and STAR, Asia’s leading media
conglomerate, to produce world-class local- language films for worldwide distribution.Fox Star Studios first
film ‘My Name is Khan’ was a worldwide success and since then the studio has worked with some of the
biggest talent in India to produce critically acclaimed films that have been appreciated all around the world.
We have an exciting line-up of 12 films for this year at the Cannes Market.
This market we shall be screening Bombay Velvet directed by the acclaimed director Anurag Kashyap which
has Ranbir Kapoor , Anushka Sharma and Karan Johar. We shall also be screening the critically acclaimed
film - The Crow’s Egg.
FUTURE EAST FILM
PINAKI CHATTERJEE • Producer • [email protected]
FUTURE EAST FILM was established to develop new forms of independent film in India. The company’s first
feature length project, JOHN & JANE by Ashim Ahluwalia, premiered at Toronto Film Festival. It was the
first Indian project to be acquired by HBO Films for US theatrical release. Future East’s next feature-length
film, MISS LOVELY by Ashim Ahluwalia and world premiered in the Un Certain Regard section of Cannes
Film Festival 2012.
We are currently seeking international collaborators for co-production, finance, strategy, sales agents and TV
broadcast and territorial presales/ancillary sales for new film by Ashim Ahluwalia, THE BOYFRIEND which
is also officially invited at the Producer’s Network in Cannes 2015 after having made successful rounds at
Cinemart Rotterdam and Goa Film Bazaar 2014.
Cannes Film Market
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GANESH PICTURES
RAVI KOTTARAKARA • Producer, Director, Distributor
• kotfi[email protected]
Ganesh Pictures and Kottarakara Films, headed by Ravi Kottarakkara, are oldest and reputed production
houses. Inspired by his father’s film ‘pasamalar’,Ravi joined his production company at very early age during
1978. Acted in several films, his never ending frenzy and passion to the film industry persuaded him to learn
editing, cinematography, direction. He started to assist his father in all his film production activities. Fully
involved in film production from 1982, 71 straight films were produced in the above banners in Malayalam,
Kannada, and Tamil languages. Ravi has written & directed films in Kannada. Produced films that entered the
national & international film festivals and won awards. Some of the films –ee shabdam enathe shbadam,
adyathe kanmani, dosth. He has also distributed 76 foreign films in India. He is also Vice President – Film
Federation Of India Nine Years. Producing Underproduction –Dod [Malayalam] Ondudina Koskara [Kannada]
Member –Censor Board, Central Board Of Film Certification, - Labour Advisory Board Central, Ministry Of
Labour, Member In The Selection Of /Mainstream Section For Indian Films In The International Film
Festival. Jury-For Many Film Awards
GURU FILMS PVT LTD
SUNITHA TATI • CEO - Producer
ANANTHAKUMAR RENGASAMY • Producer
MATHANGI SRINIVASAMUTI • Producer
Guru Films Private Limited (GFPL) is a premier film production company based out of Hyderabad, India.
Created specifically to exploit the rapidly growing film industry of South India, GFPL plans to quickly capture
and dominate the South Indian regional film market space.
GFPL is currently engaged in building and leveraging a library of intellectual property across cinema, television,
New Media and mobile technology.
We have currently finished shooting the first of our bilingual productions, ‘Courier Boy Kalyan’ (Telugu) and
‘Tamilselvanum Thaniyar Anjalum’ (Tamil); and are in the postproduction phase. They are set for release in
the first quarter of 2015.
Our next two film projects are in pre-production and will release third quarter of 2015.
IRIS GREEN FILMS
BEENA UNNIKRISHNAN • CEO
• beena@irisgreenfilms.com
ANIL KUMAR • Director
IRIS GREEN FILMS is an independent motion picture production company assembled from creative
and business entertainment industry professionals [Mr ANIL KUMAR ,Dr M M ALEX and Mrs BEENA
UNNIKRISHNAN ] with a common goal of producing national and International films which find market
amongst the world wide audience.
As we are in the pre production stage of three movies for worldwide release ,we want to prepare ourselves
on the independent film market ,the one that has emerged as a legitimate competitor to the traditional
Hollywood studio system ; to raise the profile of the company , to explore on funders and funding systems
,meet the expertise world cinema.
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JUNGLE BOOK ENTERTAINMENT
MRINAL CHAWLA • Production Assistant
Jungle Book Entertainment is a vision shared by Pan Nalin & Gaurav Dhingra. What sets Jungle Book apart is
that we are producing movies & TV content for the international market. Jungle Book has the flair for telling
timeless tales with origins in South East Asia and more specifically India. Jungle Book plans to produce youth
oriented Hindi movies with innovative ideas and original stories. We have researched shifting tastes of Indian
audiences, and the time has come to cash on to these opportunities where a great story, smart production,
realistic budgets and clever marketing strategy can yield guaranteed successful results.
Jungle Book with its base in India is specifically positioned to captivate TV and Film audiences on an
International scale.
KAHINI MEDIA
ROOPA BARUA • Producer
Kahini Media is a production company based out of Mumbai, India. We undertake all production activity , be it
short films, music videos or full length feature films. Kahini Media has produced award winning music videos
and documentaries
Kahini Media is presently involved in producing a couple of full lenght feature films that appeal to a global
audience. Since our post production is carried out at state of art facilities in Mumbai ( Bollywood) India, we are
also very efficient at controlling the cost of production.
KALEIDOSCOPE ENTERTAINMENT
BOBBY BEDI • Producer
Films produced by New Delhi-based Kaleidoscope Entertainment include Bandit Queen, Fire, Electric Moon,
Saathiya, Maqbool, American Daylight, and The Rising. Kaleidoscope is regarded as one of the leading
production houses in the Indian film and television Industry, and one of the few that have created content
that has successfully crossed over to western audiences.
KEPL was started by producer Bobby Bedi, who remains it’s Managing Director. KEPL has worked with some
of the finest talent in the Indian Movie industry from Shekhar Kapur, Vishal Bhardwaj, Aamir Khan, Abbas
Tyrewala to International Stars such as Nusrat Fateh Ali Khan and A. R. Rahman.
Cannes Film Market
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KK PRODUCTIONS
KAJAL CHOUDHURY • Producer Director
Our list includes Long Journey to Calcutta (feature film 90 minutes), Burning Calcutta (feature film 90
minutes), Do or Die feature film in pr-production and Matriarchale Society in India, a 52-minute documentary.
We are in Cannes for new projects and co-production investment.
KRISH MOVIES
RAJESH JAIN • Producer
PREETI JAIN • Producer
Coming from the background of handicraft Mr. Jain brings the same craftsmanship in his slate of films also,
His first film was critically acclaimed and National award winning “IAM”. His another venture as TV serial
“ANUDAMINI “at National channel is finishing its 200 episodes and counting on. We are ready with our next
feature project “Blue Mountain” it is in the right space being an authentic Indian film and story but reaches
out to world audience too.
We have recently finished the feature film “Blue Mountains”
LALL ENTERTAINMENT
BHUVAN LALL • Chairman - Founder
India born creative entrepreneur & investor Bhuvan LALL launched the privately held global entertainment
company - LALL Entertainment - Animation, Broadcasting & Cinema, at the Cannes 2003. Our vision is to
create global content with an Indian soul. Our mission is focused on strategic investments in world - class
intellectual properties bridging Hollywood, China & India. Our philosophy is “Think Globally Script Locally”
Focused on strategic investments in world class intellectual properties & in producing “Global films with an
Indian soul” we are now Producing Daughter by Court Order - a national best seller in India, “The Man India
Missed The Most - Subhash Bose” and the multi million dollar Hollywood films Mahabharata and the life of
Buddha.
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LETS RING THE BELL PRODUCTIONS
GURJOT SINGH • Producer
REETH MAZUMDER • Producer
Let’s Ring The Bell Productions was formed in the year 2011. It was established by young and enterprising
entrepreneurs Reeth Mazumder and Gurjot Singh (Johnny Baweja). The Flagship feature film of the Company
titled “SWEN”, completed in September 2012.
Currently our objectives are: 1.To meet like minded people for producing projects in future. 2. Release of our
feature film “I Killed him” in International market. 3. To promote our company as a Line Production company
in India providing each and everything at the best affordable rates, required for shooting. 4. To provide the best
animation and graphics work at a good price and good quality. 5. Looking for a co-producer for our animation
film on Sikh Warrior.
LONG LIVE CINEMA
SHILADITYA BORA • Managing Director
Long Live Cinema is a labour of love for all things cinematic — an integrated filmed entertainment company
with a core focus on distribution and syndication of motion pictures across all platforms and languages. We
are the India distributor of Venice winner COURT. We specialise in theatrical release, online distribution, movie
marketing and movie on demand. We also syndicate content for airlines and DTH
We have only one goal: to help quality cinema reach its audience, and then to maximise it.
MADE IN MADRAS INKOPERATED!
SUDHISH KAMATH • Writer, Director, Producer
Sudhish Kamath founded MADE IN MADRAS ink, the film production company that produced That Four
Letter Word, Good Night Good Morning and X.
He conceived, Directed and Wrote a collaborative experimental feature film called X with ten Indian
filmmakers starring Rajat Kapoor. The movie premiered as the Opening Film at the South Asian International
Film Festival and in the World Cinema section of the International Film Festival of Kerala and is releasing
theatrically in India and the US mid 2015.
Cannes Film Market
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MADHU ENTERTAINMENT & MEDIA LTD.
HIRACHAND DAND • Chief Operating Officer
Madhu Entertainment & Media Ltd. is a global media distribution and marketing powerhouse for Indian
media content. Over the last two decades it has grown from strength to strength and today has to its credit
India’s most diverse film catalogue. In the last few years, the company has further expanded to production
of regional films & television content.
MAGICAL DREAMS PRODUCTION PVT LTD
HARRY SACHDEVA • Managing Director
Magical Dreams is involved in production of mainstream cinema and tele serials, its 2015 project titled
31st October , a film on Indira Gandhi’s assassination and its aftermath is the first Indian film of its kind.
MDPPL further plans to expand production into global market and collaborating with international production
houses.
We are at Cannes to explore co-production opportunities for projects that cater to world audience Also,
exploring opportunities for world wide release of our home production 31st October,first film on Indira
Gandhi’s assassination and the aftermath.
MANTRA RUNAWAY ENTERTAINMENT
SAILESH DAVE • CEO
Mantra Runaway Entertainment is a production company specializing in Independent films’ financing,
distribution and funding. Our last movie “Writers” was shown at more than ten film festivals across the world
including Zurich International Film Festival. We are currently planning to produce three more films in the next
twelve months. We have an office in Los Angeles and we continue to strive for new outlets for Independent
films and alternative distribution networks.
At Mantra/Runaway Entertainment, we encourage new film makers, great storytellers and just about anybody
who has passion for telling engaging stories, cinematically. We develop scripts, ideas, treatments, we also
option ready scripts, and of course, we provide completion financing for selected projects.
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MERCURY INTEGRATED
HARSHAD BHAGWAT • Director
Mercury Integrated is a boutique events and entertainment services company based in Mumbai, India.
Mercury Integrated is the promoter of India IIFTC Locations Show - India’s largest film locations show and
CinePort - India’s first film tourism focused magazine.
IIFTC Locations Show is the first stop for film commissions and tourism boards to meet the vast and vibrant
Indian film industry. IIFTC Locations show is promoted in association with the Film Federation of India
(India’s apex film trade body). IIFTC Locations show takes place across India’s 3 largest film markets
(Chennai, Hyderabad, Mumbai) in a road show format, giving you access to a large studios and big production
houses, who are looking for stunning shooting locations around the world.
METRO PICTURES
RANCHOR JUMANI • Buyer
AMIT JUMANI • Director
Mumbai-based Metro Pictures has been regular to Cannes and acquires movies for distribution in India and
few other markets.
Metro Pictures’ recent acquisition include THE HERO OF COLOR CITY by Frank GLADSTONE (Theatrical, TV,
DVD-video, VOD)
ICEMAN 3D by Wing Cheong LAW (Theatrical, TV, DVD-video, VOD)
YOUNG DETECTIVE DEE: RISE OF THE SEA DRAGON by Hark TSUI (Theatrical, TV, DVD-video, VOD)
MOTION MAKERS ANIMATION STUDIO
VIPUL VALVI • Producer
RITURAJ SETHIA • Producer
Motion Makers is an Animation and Visual effects company situated in Mumbai, India.
We produce feature film, television, commercial and visual effects.
Motion Makers also provides a full-service solution for feature animation, visual effects, and film property
development from the basic concept to the final film print.
We are currently looking for buyers / distributors to distribute our full length animated feature “Nephilim”.
We also plan to meet producers and seek remaining finance for 3d animated Movie Code 4 (Alien Attack) and
Elephant Monk, Finalise actors for voice overs.
We are constantly on the lookout for collaborations, co-productions for more work in field of Animation and
VFX
Cannes Film Market
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MULTIVISION MULTIMEDIA INDIA PVT LTD
UDHANI SUNIL • Head of Distribution
Multivision Multimedia India P Ltd is a major independent distributor of Hollywood films for All Rights in the
Indian Sub-Continent. Released titles include “Monster-in-law”, “Hostage”, “Crash” etc; Upcoming releases
include “16 Blocks”, “Final Destination-3”, “Bandidas”, “Dreamer”, “Matador” etc. In a short span, the company
has acquired 80 plus titles including “RamboIV”, “Flyboys”, “BorderTown”, “StormBreaker”, “King of California”
etc.The company has established a strong network for exploitation of films all over the Country.
Looking for long term relationships with established Production Houses/Sales Agents.
NANOLAND LTD
RAJSINGH ZANANE • Film Director
RAJESH ACHARYA • Producer
We are a knowledge pool of rising talents with experienced professionals, working in diversified areas of
film production, technology innovation and implications. Nanotechnology refers to the projected ability to
construct items from bottom up, using techniques and tools being developed today to make complete high
performance products. Therefore, the Company, considering the facts that like nanometer it considers even
the smallest thing as important, coined the name of the company as Nanoland.
BEYOND BLUE is produced by Dr. Acharya who is also a corporate advisor to the Nanoland Group. Nanoland’s
main objective is to make films that make a difference. Be it to the society, culture or simply to bring back
the declined parallel cinema of India in the form of Indo - Realism with Zanane Rajsingh’s vision. Nanoland
is producing a film on climate change written by Dr. Acharya and directed by Zanane Rajsingh called It’s
Tomorrow. The film’s objective is to break the myth of Global Warming
NANU PRODUCTIONS
SHRIPRIYA DALMIA THIRANI • Director
Nanu Productions was founded in 2012 by Shripriya Dalmia Thirani. We are a successful film production house,
which is already two films old, one being a docu-drama, and other, a soon to be released Bollywood film that
deals with burning issues of Honor Killing. We currently have five main stream films under production with
respected directors and production houses of Bollywood, which are scheduled to release in the next three
years. We are also exhibitors, and own six movie theatres in India.
Excellence through innovative mind with knowledge, skill, and understanding of all aspects of film business
for cost effective, creative and quality film making”
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NATIONAL FILM DEVELOPMENT CORPORATION NFDC
NINA LATH GUPTA • Managing Director
RAJA CHHINAL • Head Overseas Promotions & Markets
FATEMA NAGREE • Business Development Manager
MANAS MALHOTRA • Co-Director, Film Bazaar
Incorporated in the year 1975, NFDC was formed by the Ministry of Information and Broadcasting, with
the primary objective of promoting the Good Cinema Movement.NFDC has produced noteworthy films and
extended financial support to more than 300 films in 21 regional languages.
NFDC organises Film Bazaar (FB), South Asia’s global Film Market, from 20 - 24 November every year in
he Goa, along with the International Film Festival of India (IFFI). Film Offices, a new segment, introduced
in FB 2014, is a platform for Film Commissions &Tourism Bodies to showcase locations and incentives to
filmmakers.
The objective of setting up the NFDC Stall is to actively seek distribution partnership with International
production &distribution houses and sales agents for new films and for our catalogue of more than 300 films.
NOVEL EVENT WORKS
SUDHANSHU HUKKU • Chairman - Managing Director
Locations Annual Exhibition Conference in Mumbai, India. Line and Locations Co Ordination for Indian Films
Globally. Co production Sourcing.
ONE WORLD FILMS PVT. LTD.
GIRISH MALIK • Producer and Director
• girish@oneworldfilms.in
One World Films Pvt. Ltd. is a rapidly growing production house; with the goal to produce films which carry
a universal connect. We intend to bring unheard stories from Indian subcontinent to the attention of film
aficionados spread over the globe. OWF also intends to make inroads into international film sales and
distribution through thought provoking, artistic cinema with a widespread appeal. our first film JAL (Water)
was selected in Oscar contention for Best Original score and Best Picture. We are looking for financing and
co-production partners with shared goals for our international projects.
Cannes Film Market
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OVERDOSE ART PVT LTD
CELINE LOOP • Producer
Overdose is a fiercely independent film production house based in Kolkata. They create locally rooted but
globally relevant feature films, documentaries, music videos and potent virals, and are committed to producing
original content that pushes boundaries. Overdose is a young company, but has already established a unique
brand profile by working at the highest international quality standards with limited financial resources.
They have an eclectic network of artists, technicians, distributors, commissions, broadcasters, and a loyal
fan base across the globe. Objective: Networking and finding partners for our next projects in development,
production and post production.
PANORAMA STUDIOS
ABHISHEK PATHAK • Managing Director
ABHISHEK GORADIA • Senior Manager Acquisition and
Syndication Buyer
Panorama Studios, together with its subsidiaries and associates, is a diversified Indian film Studio with
various business segments such as Production, Distribution, Talent Management, Advertisement, Syndication,
Equipment rental and Line production. Panorama studios attracts the best talent in media and entertainment
to create, package and deliver high quality cinema worldwide.
To Produce, Distribute, Market and Exhibit visual entertainment worldwide thus ornamenting the market and
business. Panorama Studios aims at achieving status of undisputed leader in Indian Film & Entertainment
Industry.
PICKLE
NATARAJAN VIDYASAGAR • Editor and Publisher
Pickle bridges the information gap and does a reality check on where we stand in the Indian M&E space. Our
main objective is to enable creative and business professionals from India to work with overseas companies
and professionals and vice-versa. Pickle’s goal is to help you buy, sell and distribute content from overseas
territories, find co-production partners, offshore with best of the Indian service companies and track media
and entertainment business in India.
We bring out India focused issues and reach out to delegates at CII Big Picture Summit (August) Toronto
International Film Festival/Market (September), MIPCOM (October), American Film Market (November),
ATF Singapore (December), European Film Market and Berlinale (Jan-Feb), FICCI FRAMES (March), MIPTV
(April), Nab Show (April) Cannes Film Festival and Marche (May) and Annecy (June).
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PICTUREWORKS
AVINAASH JUMANI • Film Acquisitions Buyer
PictureWorks is acquiring Hollywood and Foreign language feature films and documentaries for India and the
Indian sub-continent territories.
PLA ENTERTAINMENT
SHONA URVASHI • Creative Producer
RAMAN LAMBA • Producer
For over 50 years, the PLA group is a path setter in the Indian Film Industry.
The PLA group is associated with every field of the Entertainment Industry in India and abroad.
PLA entertainment is interested in creating strategic partnerships to develop innovative international and
Indian software. We have a slate of film projects for an international market and are looking for co producers
for these projects.
POPCORN FLICKS
AMIT KUMAR AGARWAL • COO
• popcornfl@hotmail.com
Popcorn Flicks & its subsidiary, Indie n Dogma flicks are Film Production and Film Facilitation organizations
based out of India. Main Objective in ‘15 is to move our mainstream feature-film, Virgin.. Mira (already shot
as a scratch film) from development & pre-production to production stage. We have also been appointed by a
newly launched Film Festival in India to be held in November-December ‘15, to look out for artistically driven
films, across genre, that fit in the Festival schedule.
Popcorn is at Cannes Film Festival 2015 to 1. Move our mainstream feature-film, Virgin.. Mira (already shot
as a scratch film) from development & pre-production to production stage. 2. Program & schedule films for
a newly launched Film Festival in India, to be held in Nov-Dec ‘15 3. Explore possibilities for production /
co-production 4. Acquisitions of unconventional and non-conformist films for the Indian Market 5. Possible
collaborations with talent 6. Network for future business
Cannes Film Market
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PUSH INTEGRATED COMMUNICATIONS PVT LTD
VA SHRIKUAMR • Managing Director
Push is a tribe of professionals from some of the biggest advertising agencies, who have come together
to push the boundaries and to work in an environment that is collaborative rather than hierarchal. The
nimbleness of the resource allows to explore effectively and leverage optimally. Each member of the team is
empowered and responsible for results. Push makes an effort to question the conventional, if it means that it
can produce exceptional results. Push houses art directors, designers, design educators, writers, strategists,
planners and just overall fun people, who have been there and done that and seen it all. Meet us and you will
see an astounding combination of people you always wanted to meet and people you’ve never known you
needed to meet.
PVR PICTURES
SANJEEV KUMAR • Joint Managing Director Buyer
KAMAL GIANCHANDANI • President Buyer
DEEPAK SHARMA• COO Buyer
NIHARIKA BIJLI• Manager
Founded in the year 2002, PVR Pictures Limited is the largest independent studio for the distribution of
Hollywood films in India. 100% owned subsidiary of PVR Limited, PVR Pictures is the motion picture arm of
the largest cinema exhibition company in the country. With a vision to showcase content- led movies, some of
its forthcoming releases include ‘The Hateful Eight’,’Inversion’, ‘London Has Fallen’, ‘Skiptrace’, ‘Dirty Grandpa’,
‘The Legend’ among many others.
Our objective is to acquire all rights for Hollywood films and other language films for India, Nepal, Bhutan,
Bangladesh, Srilanka, Maldives, Pakistan.
R.D. FILMS
G.M RAM • Owner
• rd_fi[email protected]
One of the Leading Distributor in India Film Industry, Importing Other Countries language Movies for India
including Sub-Continental Territory. Our main Business are Importing Action/Adventure/Horror/Animation/
Game Shows Reality Etc...
Always interested to Import lot of Good other Countries Movies for India including Sub-Continental
Territories...
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RUPESH PAUL PRODUCTIONS LTD (RPPL)
RUPESH PAUL • Producer - Director
SRITAMA DUTTA • Creative Director
From the maker of Kamasutra 3D and Saint Dracula 3D, comes RPPL, the new aeon production company with
which Rupesh Paul gets into the hat of a producer apart from the director’s jacket. It is a fully integrated,
broad-based entertainment company in creation, production and distribution of entertainment.
RPPL deals with the best of 3D and Stereoscopy with an Animation division.
It is the only distribution company of India with the highest and best International market links, around the
world.
For the Pre sale of Domestic & International Rights (Theatrical, TV, Video-DVD, VOD, Airline) of the following
movies :
a) The Vanishing Act – An Untold story of the MH 370 crash (Under Production)
b) Monologues of an Indian SEX MANIAC (Under Post Production)
c) 36 MM 3D – The Reincarnation of Marilyn Monroe (Under Production)
d) Savita Barbie 3D (Under Production)
SAHAJ FILM PRIVATE LIMITED
NEERAJA PATWARDHAN • Producer
• sahajfi[email protected]
Sahaj Film Private Limited is founded in 2009 by Dir. Sandeep Sawant (Shwaas) and Neeraja Patwardhan.
Our company is producing Sawant’s next directorial venture, a Marathi feature film titled ‘Nadi Vahate’ Post
production of the film is underway. The film will be complete by end of May 2015
‘Nadi Vahate’ (A River Flows) is a Marathi Feature Film by Dir. Sandeep Sawant (Shwaas). The film focuses on
river with respect to environmental and social aspects. The film will be complete by end of May 2015. We are
looking for sales agent/ Acquisition/ Buyer Distribution for the same.
SALAAM CINEMA
SANJAY SHAH • Producer
SALAAM CINEMA is a Mumbai based film production company established to develop and produce auteur
driven films for global audiences. The company was founded in 2013 by producer Sanjay Shah, who previously
produced Ashim Ahluwalia’s Miss Lovely (Cannes Un Certain Regard) and worked as a Supervising Producer
for National Film Development Corporation of India (NFDC).
Looking for coproducers and sales agent for the company’s new feature LIBERATION (currently in
development).
Cannes Film Market
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SIKHYA ENTERTAINMENT
GUNET MONGA • CEO and Founder • [email protected]
Sikhya Entertainment is India’s prominent production, spearheaded by producer Guneet Monga. The company
has carved a niche for itself in both national and international markets. At the core of their philosophy lies the
belief in delivering meaningful cinema mirroring our society and thus, pay great importance to stories that
need to be told, despite their geographic barriers and language. The organization seeks to see great content
through. From its Inception, Development, Production to the final release. The company includes a team of
writers, producers, directors, line Producers, marketing and public relations professionals. As a passionate
team, together, they seek to create new age content that transcends boundaries, mediums and formats while
at the same time assisting supporters of good content in any area where it may be needed.
SOUTH INDIAN FILM CHAMBER OF COMMERCE
B SHASHI KUMAR • President
[email protected]
C KALYAN • Former President South Indian Film Chamber of
Commerce • President, Telugu Film Producers Council
South Indian Film Chamber of Commerce (SIFCC) is a South Indian film producers, distributors and
exhibitors association, headquartered in Chennai, Tamil Nadu, India. It consists of the Andhra Film Chamber
of Commerce, Karnataka Film Chamber of Commerce, Kerala Film Chamber of Commerce and the Tamil Nadu
Film Chamber of Commerce. The SIFCC was inaugurated in 1938.The current president of the organisation
is B Shashi Kumar.
STAR ENTERTAINMENT P LTD
JITEN HEMDEV • Managing Director Buyer
Star Entertainment is India’s most reputed and best Independent English Film Distribution Company since
1985, which has successfully distributed Hollywood Blockbusters and Entertainment/Animation programs
in the Indian subcontinent for the past 20 years. We provide India’s cinemas, multiplexes, TV stations and
DVD/Video outlets with some of the Worlds best Independent Films, Animation, Comedies, Sport Specials,
Documentaries, Sit-coms, Educational programs carefully sourced from U.S.A., U.K.etc.
To also acquire Big Budget, Star Cast/Special Effects laden films for theatrical release simultaneous with
USA release! To acquire Classics and Popular Hit films from the past for TV /Video/Broadband/Mobile To
acquire Animation, Educational, Music, Children and Special interest programs, TV comedies, TV serials
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STAR ENTERTAINMENT WORLDWIDE PVT LTD
TRIPAT PAUL AGGARWAL • Chairman - Managing Director
Star Entertainment Worldwide Pvt. Ltd. was started in the year 1995. Though the M.D. Mr. T.P. Aggarwal had
already been producing films (for eg. Return of Jewel Thief 1996), with this company he proposed to take one
step ahead to keep up with the increasing demands and new avenues opening up for this industry. Very soon
in the near future, with his great vision he even plans to take this company public. Currently financing and
producing, Star entertainments pvt. ltd. is always on the look out for young talents, creative personnel, not
only for the cinema but also for the small screen.
SUNSTONE ENTERTAINMENT
SANJAY JUMANI • Buyer - Seller Buyer
India’s leading motion picture distribution, production company & joint ventures in Bollywood having business
over 41 years acquiring rights for India of Hollywood Movies & Supplying Bollywood to rest of the world over
three decades. We have rights in all formats of our films with subtitles and dubbing in several world languages
in all formats Theatrical, DVD, Cable TV, In flight Entertainment, Terrestrial TV, V.O.D, You Tube & Internet
rights, mobile, Digital Media & world Satellite Rights.
To buy Hollywood Films for India, Joint Ventures in Production in India and to market Bollywood titles to
different Countries in the world. we have over 100 Indian titles to offer you under one roof with superstars
like Amir Khan, Salman Khan, Shahrukh Khan, Aishwarya Roy & many others.
SUPERFINE FILMS
KAMAL JAIN • CEO - Managing Director Buyer
• superfinefi[email protected]
Under the dynamic aegis of Kamal Jain - Superfine films, Superfine Films Pvt Ltd along with its sister concern
Superfine Films International LLP together have been at the helm of acquiring top-of-the-notch commercial
entertainment contents for India & Sub Continent for last over three decades. Superfine group of companies
are well recognized with immense repute by almost all major International Films/TV sales/Representative
Companies, thereby giving Superfine a name of trust, repute & reliability
Present Primary objective and focus is to acquire All Rights for Commercial Driven, Action, Adventure, Special
Effects, Fantasy Big Budget Genre films and programs with ‘A’ credits or franchise films for India and SubContinent which can be exploited in All the Platforms in India & Sub Continent.
Cannes Film Market
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TAPAS FILMS
SWAROOP KANCHI • Director / Producer
• tapasfi[email protected]
Tapas Films was founded in 2007 by Swaroop Kanchi and their first production was Hong Kong based
independent english film “Hong Kong Dreaming”. With their head office in bangalore they line produced a
british film “Supraman and the school of necessity” in 2008, in 2010 “Bengaloored” an Indian indie english film
was produced and released nationwide theatrically to both critical acclaim and box office collections, in 2014
they released their first hindi film “Yeh dil Ramta jogi” theatrically. Tapa
My current Priority is to find Co-Producers for my New film “The Yogi” set to be shot in India late 2015.
Also looking for Pre Sales for the Same. I am Looking for International Buyers for my previous Releases
Bengaloored & Yeh Dil Ramta Jogi
TRIKUTA FILMS PVT. LTD.
JITENDRA ADAPPA • Producer • trikutafi[email protected]
Trikuta Films is in the business of Films & TV Production. TFPL has been catering to Multinationals &
Corporate Houses, adhering to their high standards of technical & creative output in meeting the client’s
requirements. TFPL’s strength is the combined experience of its Directors & its professionalism in executing
projects it undertakes. TFPL is taking strides in feature film productions, confident of taking on projects of any
size with the guarantee to execute the same within a time frame.
TFPL is venturing into World Cinema, aiming to produce culturally diverse and innovative fare that captivates
the audiences’ imagination worldwide. TFPL’s focus is on doing International Feature Films by way of CoProductions and is open to exploring new business opportunities in the field. "Kadhie Aambat Kadhie Goad", an
Indian family drama, made in its local language is TFPL'S first feature film offering. Its in the final stages of
post production & is being readied for a July 2015 release.
ULTRA MEDIA & ENTERTAINMENT PRIVATE LIMITED
MODA VINEET • Global Business Development
AGRAWAL SUSHILKUMAR • Chairman - Producer
ALI SAYED MANZOOR • Head of Production
VEERA BHADRIK MEGHRAJ • Vice President - Marketing
ULTRA MEDIA & ENTERTAINMENT (est. 1982) is a fully integrated, broad based studio engaged in multiple
aspects of entertainment, including full-scale film and television production and distribution and digital media.
Over the years, Ultra has diversified into a wide spectrum of services such as film production, post production
services such as Scanning, Restoration, Colorization, 2D to 3D Stereoscopic Conversion and Merchandising.
1) Present our new titles and market our library of 1500 titles. 2) Market our studio facilities such as 2D
to Stereoscopic 3D Conversion for Theatrical, Television & Home Video Releases, 3D Lenticular images &
posters, Restoration & Archival in SD, HD & 2K formats, 2K & 4K Scanning on ARRI scanner, DI Facility (Color
Grading Unit), Audio Engineering, Colorization of B/W Content. 3) Present our newest technology of SD to HD
and HD to 4K conversion.
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VIACOM18 MOTION PICTURES
GAYATRI GULATI • Head Revenues & International Business
Viacom18 Motion Pictures is India’s finest fully integrated motion pictures studio that has emerged as a force
to reckon with by delivering a stream of critically and commercially successful films. Offering differentiated
and meaningful cinema, some of its iconic releases have been Queen (2014), Bhaag Milkha Bhaag (2013),
Madras Café (2013), Special 26 (2013) and Kahaani (2012) to name a few.
The strategic alliance with Paramount Pictures to market and distribute PPI line-up in the Indian subcontinent has seen blockbusters like Transformers Dark of the Moon, Mission Impossible: Ghost Protocol,
Madagascar 3, Hugo, Paranormal Activity, G.I. Joe: Retaliation and Jack Ryan: Shadow Recruit to name a
few.
VR FILMS & STUDIOS PVT LTD
MANISH DUTT • Managing Director Buyer
• manish.dutt@vrfilms.in
Importer of foreign language films for India territory, exporter of Hindi films, import Films for TV / Home
Video / Digital Media, theatrical distribution in India, dubbing studios which acquire and provide dubbing related
services to various clients worldwide for Indian languages like Hindi, Tamil, Telegu and English.
To acquire Foreign language films mainly English language films for ALL RIGHTS for INDIA and sub
continent.
YASH RAJ FILMS
AVTAR PANESAR • Vice President - Intl. Operations
• avtar@yashrajfilms.com
Yash Raj Films (YRF) founded by the Late Yash Chopra a veteran of the Indian Film Industry. The only
privately held Studio in India, YRF is a 45-year-old conglomerate and a vertically integrated Studio in every
sense, controlling almost every part of the value chain from Production to Post Production, Distribution to
Music Studios, Licensing & Merchandising etc. based out of Mumbai. YRF has recently built a state of the art
studio that houses shooting stages, sound studios and its corporate HQ.
To showcase the current slate of YRF films for 2015. Selling, My Big Fat Bride, Calcutta Detective, Piku and
Fearless as well as the tentpole “FAN” starring Shah Rukh Khan. We are also looking to syndicate the YRF
catalogue of films along with “Dhoom: 3” the biggest action franchise from India .
Cannes Film Market
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CHENNAI INTERNATIONAL SHORT FILM FESTIVAL
SRINIVASA SANTHANAM • Festival Director, CISFF
S KANNAN • Chairman, CISF
The Chennai International Short Film Festival is organised by ‘Chennai Academy of Motion Picture’, a nonprofit trust founded by persons with a long track record in promoting good cinema through film festivals and
other media. The second edition will be held from 15-21 Feb 2016 with competition for short fiction, animation
and documentaries for a maximum duration of 20 minutes. CISFF’s objective at Cannes is to scout for short
films for the festival. Last date for receipt of entries: December 15, 2015.
WESTEAST FILM
PIERRE ASSOULINE • Producer
info@westeastfilms.com
Production, Production Consultancy and Services in India
Our expertise: To translate film production practices in India into your expectations as a Western producer
or filmmaker.
Western producers are, in increasing numbers, approaching us to resolve their problems in recreating their
usual work environments when shooting or doing post-production in India. They come to us for the creative
and production values they have come to expect as the norm in their own countries. Westeast Films helps
erasing the misunderstandings created by cultural differences in work customs.
We're in Cannes for co-production and prod services opportunities.
YOGANANDA FILMS
PAVAN KAUL • Director/Producer
Creation of quality, path breaking and inspirational content for film and television.
We are at Cannes Film Market to promote and market our feature film THE ANSWER.
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MORE INDIAN COMPANIES AT CANNES
AARUSHI INVESTMENTS
Vimal AGARWAL
Director
[email protected]
AEON PICTURES INDIA
Surendra SINGH
Director / Business
[email protected]
B4U
Ishan SAXENA
Vp Acquisitions
ishan@swordfishinvestments.com
Chennai International Film
Festival
S. Thangaraj
Festival Director
[email protected]
CONSULAT GÉNÉRAL DE
FRANCE (INDE)
Reghu DEVARAJ
Attaché Audiovisuel
[email protected]
EMPIRE NETWORKS
Kavi JUMANI
Managing Partner
[email protected]
GBN SPACES
Gopakumar Balakrishnan NAIR
Production
[email protected]
KALINGA TV
Dwiti VIKRAMADITYA
Director
[email protected]
WHITE STRIPES
(ENTERTAINMENT DIVISION
OF DIL LTD.)
Yash SHAH
Group Director
[email protected]
YT GROUP
Yash SHAH
Group Director
[email protected]
Cannes Film Market
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05-05-2015 18:02:14
Mumbai Academy of the
Moving Image (MAMI)
Anupama Chopra
Festival Director
info@mumbaifilmfest.com
RECTANGLE MEDIA PVT. LTD.
Remy KOHLI
Producer Director
[email protected]
SMILE FILMS
Jitendra Kumar MISHRA
Producer-Festival Director
smilefi[email protected]
SPLIT IMAGE PICTURES PVT
LTD
Vikram LAMBA
Director
[email protected]
STILL WATERS MEDIA PVT
LTD
Sapna BHATIA
Director
[email protected]
SUCHETA PHULE
PRODUCTION
Phule SUCHETA
Writer / Director
[email protected]
SWAPNA CINEMA
Chalasani SESHU
Producer
[email protected]
VENDHAR MOVIES
Pravin GANDHI, Director
[email protected]
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FILMS
Indian Films for Sales and Syndication
at Cannes Film Market 2015
Cannes Film Market
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Indian Films for Sales & Syndication
INDIAN PANORAMA
FILMS 2014
OTHELLO
Seventy-two-year-old ex-revolutionary Bankim Bhatta is suffering
from Alzheimer’s. Mun drives an autorickshaw named Othello. Bankim
tells Mun that he wants to go to jail. He is sent back to the police station
where Tina, his tenant and a call girl, meets Mun. Tina starts using
Mun’s auto to visit clients. A bond develops between them. A bomb
blast at the auto-stand provides the shocking climax of the film.
Director: Hemanta Kumar Das | Producer: Manabendra Adhikary
Cast: Arun, Arup Baishya, Bibhuti Bhushan Hazarika, Jupitora
Bhuyan
2014 | Assamese | Digital | Colour | 126 min
PUNASHCHA
Mohona has retired as a professor in Santiniketan. Her only daughter,
Parna, studies in Santiniketan’s Vishwa Bharati and lives in a hostel.
Mohona’s long-lost ‘friend’ of college days, now a renowned writer,
novelist Animesh Mukherjee, has just won an award. A secret meeting
between them goes wrong when Animesh dies of a heart attack. The
news spreads like wild fire and Mohona is left to undergo a trial by
the society.
Director : Souvik Mitra | Producer: Kalyan Basu (Dreamz Digital
Dotcom) | Cast: Soumitra Chatterjee, Roopa Ganguly, Anjana
Basu, Sayani Ghosh, Rajat Ganguly, Debarati Chatterjee, Sourav
Chatterjee
2013 | Bengali | Digital | Colour | 132 min
CHOTODER CHOBI
We are born. We talk. We play. We grow up. We love. We work. We
marry. We have babies. We have families. We retire. We die. Even
‘they’ do the same. Still, what we do is normal. What they do?
Funny. They are the little people of our society. We call them dwarfs,
or even, midgets! This is a simple love story of such a couple, Khoka
and Soma. How can a dwarf couple dream of making another family
again knowing all the troubles they face?
Director: Kaushik Ganguly | Producer: Shree Venkatesh Films
Cast: Dulal Sarkar, Debalina Roy
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BODHON
The film tracks the journey of Archi, in his early forties, a highly
successful professional working in a MNC, and his wife Ishaani, a
lady of mid-thirties, spanning across ten years from their marriage
to the present day, shown in flashback mode. The story starts on
the morning of Mahalaya. A crisis comes unexpectedly when their
seven-year-old son Ujaan has a heart attack and the family fights
it with all their might over six days. But there is a deeper crisis in
Ishaani’s life in the face of an unexpected autism of her adopted
daughter Srotoswini.
Director: Ayananshu Banerjee | Producer: Magick Illusion
JODI LOVE DILE NA PRAANE
Jodi Love Dile Na Praane is a film based on a novel. Does love still
exist? Each generation feels the succeeding generation doesn’t
understand love and the feeling is mutual. Thus the search for the
elusive four-letter sensation goes on. This film is a take on different
faces of love with all its trappings.
Director: Abhijit Guha and Sudeshna Roy | Producer: Shyam Sundar Dey
(Green Touch Entertainment Pvt Ltd) | Cast: Abir Chatterjee, Ananya
Chatterjee, Kaushik Ganguly, Kaushik Sen, Arjun Chakraborty
TEENKAHON
Teenkahon is a triptych. It tries to capture the changing face of
morality, the degeneration of values, the increasing pollution of the
spoken language and the changing social fabric of Bengal through
three stories. Spread over a hundred years, the three stories are
structured in the manner of the classical Three Act Play with each
act (read story) exploring one facet of an obsessive relationship
outside the purview of marriage.
Director: Bauddhayan Mukherji | Producer: Monalisa Mukherji
(Equinox Films) | Cast: Dhritiman Chaterji, Rituparna Sengupta,
GOUR HARI DASTAAN - THE FREEDOM FILE
Gour Hari Das loves to talk about his adventures as a freedom fighter.
When he realizes that people laugh behind his back and call him a
liar, it hurts but he never craves to prove himself right. Until one day
his son seeks admission in an institute and Das is told that a freedom
fighter’s certificate would facilitate an entry. Das has his first brush
with bureaucracy when he is told that he cannot obtain a certificate
from Maharashtra, as he had fought from the state of Orissa. The utter
callousness of the officials is an eye opener and a new Das is born.
Director: Ananth Narayan Mahadevan |
Producer: Siddhivinayak Cinevision
Cannes Film Market
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ANKHON DEKHI
The narrative follows fifty-five-year-old Bauji, the easy-going head of a
joint family which houses his strident wife, college-going son, teenage
daughter and his younger brother with his wife and two children.
When the daughter is found to have an undesirable suitor, the enraged
family and onlookers vent their rage on the hapless couple. Something
changes in Bauji. He realizes that he has been blind all his life, following
other people’s truth. He takes a vow that from now on he would not
believe anything that he has not experienced. He would only believe
what he sees with his own eyes, since nothing else can be certain.
Director: Rajat Kapoor | Producer: Mithya Talkies
1 DECEMBER
The chief minister’s official visit is a great event, particularly to the
poor family specially selected to host his dinner and overnight stay
in its humble abode. The extra attention bestowed on the family,
in preparation for this visit, gives it a feeling of elevated status
and brighter future. The visit is a great success with photo-shoots,
interaction with press and local leaders, dinner and wide media
coverage. But the family itself is neglected, faces embarrassments
and gets a raw deal, driving it to despair.
Director: P. Sheshadri | Producer: Basantkumar Patil (Basant
Productions) | Cast: Nivedita, Santosh Uppina, Shanthabai Joshi,
RI
Stuck between his ideology and his conscience, Manbha, the
protagonist, goes through a maze of emotions and questions, which
forces him to take a life-changing decision. Like many youths of the
state, Manbha joins a terror outfit. He sees the hatred, anger, squalor
and is left disillusioned. Manbha is injured and manages to hide in a
house. The lady of the house Emika is a single mother and is a victim of
terror herself. What starts is a soul searching evening for Manbha.
Director: Pradip Kurbah | Producer: Kurbah Films | Cast: Merlvin Mukhim,
Elgiva Shullai, Albert Mawrie, Anvil Laloo
2013 | Khasi | Digital | Colour | 117 min
1983
This is the story of three generations of a family between two world
cup wins of India, 1983 and 2011. Gopi Ashan had high hopes for his
son, Rameshan. Though full of potential as a child, all he could do was
to end up as an amateur tennis ball cricket player. After his marriage he
gets a new purpose in his life: to make his son the professional cricket
player that he could not become. Told in the backdrop of village cricket
in light humour, the movie deals with the journey of Rameshan and the
problems he has to face and conquer to reach his goal.
Director: Abrid Shine | Producer: T R Shamsudheen | Cast: Nivin
Pauly, Anoop Menon, Jacob Gregory, Joy Mathew, Saiju Kurup
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NORTH 24 KAADHAM
Hari, a young IT professional, has an Obsessive Compulsive
Disorder (OCD). On an accidental road trip with an old man and a
young female NGO worker he chances to meet, he comes to terms
with his obsessions and realizes that there is more to life than his
paranoid notions.
Director: Anil Radhakrishnan Menon | Producer: Mukesh R. Mehta
(Surya Cine Arts) | Cast: Fahadh Faasil, Nedumudi Venu,
Swati Reddy
2013 | Digital | Colour | 126 min
NJAN STEVE LOPEZ
Steve Lopez, a typical teenager, is the son of an influential police
officer. He happens to witness a fight between two rival gangs and
is involved in taking a fatally injured man to the hospital. This leads
him into the lives of the gangsters. Hari, the gang leader, is captured
by his father with his help, but he disappears from police custody. In
his quest to find what happened to Hari, he gradually comes to realize
that the gangsters and the police are two faces of the same coin.
Director: Rajeev Ravi | Producer: Alan McAlex
Cast: Farhaan Faasil, Ahaana Krishna, Alancier, Anil Nedumangad
2014 | Malayalam | Digital | Colour | 116 min
DRISHYAM
George Kutty is a cable TV network owner in a remote and hilly
village in Kerala. He lives a happy life with his wife, Rani, and two
girls. Anju, his daughter, goes to a school trip. A guy who had been at
the school trip with her meets Anju and blackmails her with a video
of her that he had captured during the trip. In the course of events he
is accidentally killed by Rani and Anju. This begins a cat and mouse
game as the murdered person is the son of IG Geeta Prabhakar.
Director: Jeethu Joseph | Producer: M.J. Antony (Aashirvad
Cinemas) | Cast: Mohan Lal, Siddique, Shajon, Irshad, Kunjan
2014 | Malayalam | Colour | 164 min
MUNNARIYIPPU
Can you force someone to ‘reveal’ him/herself? The film probes
into the conflicts that arise out of the desire for and the limits
of communication between human beings. Raghavan has been
convicted of double homicide and is undergoing life imprisonment.
Anjali is an ambitious journalist who wants to prove her worth,
probing into and narrating other people’s lives. Their meeting forces
him to come out – first from the jail in which he has cocooned
himself for two decades, and later, from his silence.
Director: Venu | Producer: Ranjith, P.M. Sasidharan (Gold Coin
Motion Picture Company) | Cast: Mammooty, Nedumudi Venu,
Cannes Film Market
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SWAPAANAM
Unequalled in playing the chenda, Unni, and Nalini, peerless in
Mohiniyattam, are drawn to each other. Their passion cannot hold
up against the tumults of Unni’s life. A brother and a father figure,
whose love sours to jealousy and hate, a wife who despises his
drumming and a mother from whom the truth about his birth is not
forthcoming all hasten the tempo to an inevitable dark end.
Director: Shaji N. Karun | Producer: Horizon Entertainment |
Cast: Jayaram, Kadambari, Vineethi, Siddique, Ashwini Ranga,
Lakshmi Gopalaswamy
2013 | Malayalam | Digital | Colour | 152 min
NJAAN
The story revolves around the discovery of a forgotten nationalist,
K.T.N. Kottoor, by young writer Ravi Chandrasekharan. Ravi’s journey
takes him to a pre-independent India, and also to the suburb of
Kottoor in the erstwhile Malabar of the Madras Presidency. While
tracing the life of the central character, Ravi also travels through
the changing socio-political scenario of a country in its quest for
independence.
Director: Ranjith | Producer: Ranjith, P.M. Sasidharan (Gold Coin
Motion Picture Company) | Cast: Dulquer Salmaan, Renji Panicker,
Joy Mathew, Suresh Krishna, Saiju Kurup, Harish Perady
EK HAZARACHI NOTE
This is the story of Parobudhi, a poor old woman living in a remote
village of the Vidarbha region of Maharashtra. A local politician
comes canvassing for votes. He is distributing money to the villagers.
Someone points out Budhi to him as that unfortunate woman whose
young farmer son has committed suicide. The politician presses a few
thousand-rupee notes in Budhi’s hands. But fate has something else in
store for them. The local policeman hauls them up. Will the duo survive
what follows? Will they be able to safely return to their homes?
Director: Shrihari Sathe | Producer: Shrihari Sathe (Infinitum
Productions Private Limited) | Cast: Usha Naik, Sandeep Pathak,
ELIZABETH EKADASHI
With an international sensibility but impregnated with Marathi folklores
and ‘saint culture’, Elizabeth Ekadashi is a unique offering. At the core
of the film are basic human emotions of mother and child and a child’s
struggle to help his struggling single mother financially. Though the
theme is universal, the presentation is such that it is very close to the
Marathi soil. Set against the backdrop of Pandharpur, the film explores
children’s scientific curiosity vis-à-vis the spiritual teachings of the land.
Director: Paresh Mokashi | Producer: Essel Vision Productions
Cast: Shriranga Mahajan, Saili Bhandarkavthekar, Pushkar Lonarkar,
Nandita Dhuri, Vanmala Kinikar
2014 | Marathi | Digital | Colour | 90 min
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KILLA
Coping with the recent death of his father, eleven-year-old Chinu
moves to a small Konkan town from a big city. He finds it difficult
to adjust to the new place and finds himself alienated and reluctant
to open up to its people. Both Chinu and his mother grapple with
their own individual struggles and anxieties in the new town. In the
process, they emerge with newer experiences and as newer people,
both healed and enriched.
Director: Avinash Arun | Producer: Alan McAlex
Cast: Amruta Subhash, Archit Devadhar, Parth Bhalerao, Gaurish
Gawade, Swanand Raikar, Atharva Upasni
DR. PRAKASH BABA AMTE – THE REAL HERO
This is a story showcasing an individual who was unaware of his
destination but became an inspiration to the world. After he had
finished his doctor’s degree, Prakash’s father Baba Amte took him
on a picnic to Hemalkasa. The picnic became a turning point in
Prakash’s life. On the one hand people had reached the moon while
here people were living as animals. Prakash went there just to treat
them but became a part of them. Prakash marries Mandakini, who
accompanies Prakash without any condition. This is where the real
story begins in the dense forest of Hemalkasa. Today, after fortyfive years of struggle, Hemalkasa has become an example to the
world.
Director: Samruoddhi Porey | Producer: Samruoddhi Porey
YELLOW
Gauri is born with Down’s Syndrome. Her dad fails to accept the
fact that his daughter is not like others and disowns her. Gauri's
mom, Mughdha, determined to raise her daughter and make
sure she gets dignity, relocates to her brother Shridhar's place.
Shridhar, a god-fearing simpleton, is the source of positive energy
in Mughdha and Gauri’s life.
Director: Mahesh Limyae | Producer: Uttung Hitendra Thakur
Cast: Mrinal Kulkarni, Upendra Limaye, Hrishikesh Joshi, Gauri
Gadgil, Manoj Joshi, Snjana Rai
2013 | Marathi | Digital | Colour | 130 min
LOKMANYA – EK YUGPURUSH
The film encompasses the journey of a young boy from his early
days to becoming the legend, Lokmanya, thus inspiring generations
to come. It discovers the ideals and vision of the great freedom
fighter, comments on the socio-political situation of today’s India
and how it can be improved using his messages that were delivered
over a century ago, unravelling the legend.
Director: Om Raut | Producer: Neena Raut Entertainment Pvt. Ltd
Cast: Subodh Bhave, Sameer Vidhvans, Angad Mhaskar, Chinmay Mandlekar
2014 | Marathi | Colour | 139 min
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A RAINY DAY
Aniket is an achiever who wants to get rich quick and resorts to any
means for that. His wife Mugdha doesn’t approve of his deeds. When
life seems to be fine he discovers that she’s got wind of his past.
He wonders how she knows and gradually this phenomenon starts
repeating itself. She tells him what he did on various occasions. She
is pregnant and he wonders if this condition has to do with her extra
sensitivity. He is intrigued, irritated and on the way to becoming a
neurotic wreck. Mugdha finally takes a strong decision about her life.
Director: Rajendra Talak | Producer: Priyanka Bidaye Talak
Cast: Mrinal Kulkarni, Subodh Bhave, Ajinkya Deo, Harsh Chhaya,
Sulabha Arya
2013 | Marathi | 35 mm | Colour | 89 min
ADIM VICHAR
Aadim Vichar is a tale of ancient tradition and human values that
stand above all. This is a story of the Kandha tribe settled in the
plains of Odisha, India. Their life is a melody full of songs and dance,
they lead a community life and believe in peaceful existence. But
when their settlement moves into the plains, they come in contact
with other people. Among them exist half-educated, selfish touts,
who for their own motives shatter the peaceful tribe.
Director: Sabyasachi Mohapatra | Producer: Susant Mohapatra
Cast: Atal Bihari Panda, Tapaswini Guru, Purushottam, Lochani Bag,
KUTTRAM KADITHAL
This story, playing over twenty-four hours in the life of a couple, deals
with a young teacher who marries against the wish of her family and
tries to start a new life with her beloved engineer husband. The interreligion wedding escalates into a huge issue as she is chased by the
police, the media, and a bunch of social activists and she runs away
from the city and becomes the most wanted all over the state.
Director: Bramma G | Producer: J. Satish Kumar (JSK Film
Corporation) | Cast: Master Ajay, Radikha Prasiddha, Sai Rajkumar,
Pavel Navageethan
2014 | Tamil | Digital | Colour | 120 min
Indian Panorama section at IFFI Goa showcases
the best of films from across India
138
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CFSI Films
EKTHABHUJANG
'EkthaBhujang' is a story of a 10 year old boy wanting to play the
role of Lord Krishna... the hindu GOD in a school drama... the only
thing stopping him to do so... is the fact that he is a muslim boy.
Genre: Live Action Children Feature Film |
Director: Mohinder Pratap Singh | Email: [email protected]
PAPPU KI PUGDANDI
When young Pappu meets a genie,he thinks all his problems will
be taken care of but the genie had had other plans for him which
make Pappu realize that there are no shortcuts to happiness and he
identifies his own strength.
Genre: Children’s Feature |
Director: Seemaa Desai | Email: [email protected]
GATTU
In a small town in central India, kids and adults are equally
obsessed with kite-flying. The airspace is dominated by a black kite
called Kali with mysterious origins. A street kid Gattu, dreams of
defeating Kali but fails. He discovers that the local school has a roof
which will give him a vantage point. Impersonating as a student
he sneaks into the school and must now pretend to study. The only
problem -- he is illiterate!
Genre: Live Action Fiction | Director: Rajan Khosa
Email: [email protected]
GOOPI GAWAIYA BAGHA BAJAIYA
They sing and play together to celebrate their newfound friendship
only to be surrounded by melancholic ghosts who they manage to
enchant with their peculiar musical talent. As a gift, they acquire
four boons from the king of ghosts, using these they can always
be well fed, transport themselves anywhere in an instant and
mesmerize anyone with their music, albeit only together and in
‘jugalbandi’. One boon is still owed to them, this would be granted
by the ghost king when they need to use it. And thus begins the
extraordinary adventure of Goopi&Bagha
Director: Shilpa Ranade | Email: [email protected]
Cannes Film Market
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FILMS FROM NATIONAL FILM
DEVELOPMENT CORPORATION
FIG FRUIT AND THE WASPS (ATTIHANNU MATTU KANAJA)
Gouri, a documentary filmmaker, takes a journey along with her friend
Vittal. She is trying to collect material for her documentary project
on instrumental music, and instruments used in some parts of south
India. They go to a village with the help of Basanna, a school teacher.
They travel to meet an instrumental musician, who has gone some
place elsewhere to give a performance. Both are forced to stay in the
village till the musician returns. The film tries to capture the human
attitude when they are placed in a condition/situation/environment
which is familiar and at the same time unfamiliar. As the seemingly
simple yet complex situations develop, how these characters fit in
to a landscape and climate as much mental as physical. Some time
“vision” isn’t what is visible, sound isn’t exactly what is heard.
Director and Writer: M S Prakash Babu
Production Company: NFDC
FOUR COLOURS (CHAURANGA)
A fourteen year old dalit (lower caste) boy is growing up in an
unnamed corner of India. His dream is to go to a town school like
his elder brother and his reality is to look after the pig that his family
owns. His only escape is to sit a top a tree and adore his beloved
passing by on her scooter. His unspoken love is as true as his mother’s
helplessness who cleans the cowsheds of the local strongman’s
mansion, with whom she also has a secret liaison. When the boy’s
elder brother comes on a vacation to the village, he soon finds out
about his younger brother’s infatuation. The learned elder brother
makes him realize the need to express his love and helps him write a
love letter. Will things remain the same in the village after this love
letter is delivered? Especially when the girl is the village strongman’s
daughter? Inspired by a true event, Chauranga (Four Colours) is a
fictional account of six days in a dark corner of India. A story of the
violence of class oppression that still exists in Rural India.
Director and Writer: Bikas Ranjan Mishra
Production Company: Anti Clock Films
Co-Production - NFDC
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SUNRISE (ARUNODAY)
Inspector Joshi is a grieving father searching for his daughter Aruna,
kidnapped years ago when she was six. In his despair, life converges
with a recurring dream in which Joshi pursues a shadowy figure who
leads him to ‘Paradise’, a night-club where teenage girls dance to a
leering crowd. He is convinced he will find Aruna there and vows to
bring her back to Leela, his broken wife.
Director: Partho Sen-Gupta
Production Companies: Independent Movies Ltd (IN), NFDC (IN),
Dolce Vita Films (FR) Infinitum Productions (IN),
Aryasaa Cine productions (IN)
MAJHI THE MOUNTAIN MAN (MAJHI THE MOUNTAIN MAN)
Dashrath Manjhi is famously known in India as “the Man who broke
a mountain for love”. The film “Majhi - the Mountain man” is a true
story about that legendry man- a story, so true that it is “stranger
than fiction”. Dashrath Manjhi was a poorest of the poor man from
the lowest of the low castes, living in a tiny village in the poor state of
Bihar. A great big mountain separated this village from the rest of the
world. Manjhi, loved his wife beyond belief. One day, as his pregnant
wife carried his mid day meal across the mountain to him, she fell
down from the mountain and died. Shocked and angry, Majhi swore to
break the mountain and make a path so that no one else would ever
suffer her fate. With just a hammer and a chisel he started what was
perceived as an impossible task.
Director: Ketan Mehta | Writer(s): Ketan Mehta, Mahender Jhakkar
Production Company: Maya Movies Pvt Ltd
Co-Production - NFDC
QISSA
Set in post-colonial India, QISSA tells the story of Umber Singh, a Sikh,
who is forced to flee his village due to ethnic cleansing at the time of
partition in 1947. Umber decides to fight fate and builds a new home for
his family. When Umber marries his youngest child Kanwar to Neeli, a
girl of lower caste, the family is faced with the truth of their identities;
where individual ambitions and destinies collide in a struggle with
eternity. PRODUCTION COMPANY - HEIMATFILM (Germany)
CO-PRODUCTION COMPANIES - NFDC (India), AUGUSTUS FILM
(NETHERLANDS), CINE-SUD PROMOTION (FRANCE)
Director: Anup Singh
Cannes
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MARKET SCREENINGS
FROM INDIA
THURSDAY, MAY 14
BAAHUBALI
A mother chooses an adopted nephew over her own son to be the new
King. The young King spurns the throne for love. But treachery and
betrayal lead to his vile murder leaving behind an ostracised wife. Their
rescued infant child raised by tribals returns to avenge his parents.
Palais K 16:00hrs
Director: Rajamouli Sri Sailasri | Producer: Prasad Devineki
(Arka Mediaworks), Shobu Yarlagadda (Arka Mediaworks)
Cast: Prabhas Uppalapati, Rana Daggubati , Tamannaah Bhatia,
Anushka Shetty | International Sales: [email protected]
Tamil, Hindi - Epic, Drama - 145 Minutes
UMRIKA
When Udai bhai abandons his native Jitvapur for a bigger and better
life in the United States of Umrika, young Ramkant must follow in his
footsteps to find out what truly happened to his brother.
Palais I 16:00hrs
Director: Prashant Nair | Producer: Swati Shetty (Samosa
Stories Entertainment Pvt. Ltd.), Manish Mundra
Cast: Suraj Sharma, Tony Revolori, Smita Tambe, Adil Hussain,
Rajesh Tailang, Amit Sial, Pramod Pathak, Prateik Babbar |
International Sales: manish@drishyamfilms.com
Hindi - Drama, Comedy - 100 Minutes
KULDIP PATWAL: I DIDN'T DO IT!
A common man, Kuldip Patwal, has been wronged by the local minister
all his life. Now – according to reports – he has, allegedly, killed the
Chief Minister in broad daylight in front of tens of eyewitnesses. He
says he didn’t do it. But, the State will make sure he gets the capital
punishment.
Palais K 20:30hrs
Director: Remy Kohli | International Sales:
[email protected] | Rectangle Media Pvt Ltd
Hindi, English - Drama, Thriller, 135 Minutes
142
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FRIDAY, MAY 15
CROW'S EGG (KAAKAA MUTTAI)
When a pizza parlor opens on their old playground, two carefree slum
boys are consumed by the desire to taste this new-fangled dish called
‘pizza’. Realizing that one pizza costs more than their family’s monthly
income, they begin to plot ways to earn more money – inadvertently
beginning an adventure that will involve the entire city.
Director: M Manikandan | International Sales:
[email protected]; [email protected]
Completed - Tamil - Children's, Family, Drama - 99 Minutes
Palais F 09:30hrs
FEAST OF VARANASI
Palais B 11:30hrs
Helen crosses paths with Nana in the forest where he lives
next to an old cremation site. Nana senses her guilt and helps
Helen free herself from her pain of her mother’s suicide.
Arjun Das, a CBI officer from New Delhi is sent to Varanasi to find
the killer. For Arjun it’s a return to his home and a city he left behind.
As the Hindu festival of fire and colour ‘Holi’ approaches Kasi prepares
to claim the greatest sacrifice, Helen, and seeks deliverance from
Nana, who must prove he is a true aghori, detached from everything.
Feast of Varanasi is a taut thriller, which matches a sense of place
and narrative to deliver an original and beauty film unlike any other
made in India.
Director: Rajan Kumar Patel | Producer: Rajan Kumar Patel
(Raafilms), Ketal Patel (Dreamit Filmit ), Caroline Oreilly (Raafilms)
Cast: Adil Hussain, Tannishtha Chatterjee, Holly Gilbert, Judi
Bowker, Ashwath Bhatt | International Sales: rajan@raafilms.co.uk
Post-Production - Hindi - Drama - 113 Minutes
BOMBAY VELVET
Palais I 18:00hrs
Set against the jazz age of Mumbai, the story spans a period from the
late 1940’s through to the 1970’s Bombay Velvet is the story of the
rise and fall of one boy Balraj who transforms into Karan, a gangster in
Mumbai post Independence and on the verge of becoming a metropolis
The story of the rise and fall of one boy Balraj who transforms into
Karan, a gangster in Mumbai post Independence and on the verge of
becoming a metropolis. Set against the jazz age of Mumbai, the story
spans a period from the late 1940’s through to the 1970’s when the
first skyscrapers started to be built. It is also his love story with Rosie,
a jazz singer from Goa. Jazz clubs, bare-knuckled boxing, a growing city,
gangsters fighting for a piece of the pie; welcome to Bombay Velvet
Director: Anurag Kashyap | Producer: Fox Star Studios And
Phantom Pictures | Cast: Ranbir Kapoor, Anushka Sharma, Karan
Johar | International Sales: [email protected]; kanika.
[email protected]
Hindi - Drama - 212 Minutes
Cannes Film Market
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ROAR: TIGERS OF THE SUNDARBANS
LERINS 1 17:30hrs
A thrilling, action adventure, where Uday, a photojournalist rescues a
white tiger cub caught in a poacher’s trap. He brings the cub to a local
village, causing the villagers to panic until the forest warden takes
the cub away. The cub’s mother, a white Tigress, enters the village at
night and when she can’t find her lost cub, she unleashes her wrath on
Uday and disappears with his dead body. Uday’s brother puts together
a crack commando team and a local tracker on a do-or-die mission
to recover his brother’s body and kill the white Tigress. The team's
quest leads them deep into the dangerous Sundarbans. An exciting
hunt ensues, as the white Tigress not only eludes them every time but
also manipulates them into her territory. Adding to their predicament,
a villainous poacher schemes a plan to use the remaining group as bait
to trap the white Tigress for himself. One after another, the hunters
become the hunted.
International Sales: roxane@ffimail.com; Fantastic Films International
Completed - Hindi, English - Action/Adventure - 123 Minutes
SATURDAY, MAY 16
UMRIKA
PALAIS H 09:30hrs
International Sales: roxane@ffimail.com; Fantastic Films International
RIVIERA 4 11:00hrs
International Sales: [email protected] | Rectangle Media Pvt Ltd
KAJARYA
An Indian village just 80km from the capital city - New Delhi where
there is no place for a girl child. Kajarya is a feature film that has
been making waves internationally and deals with the pertinent
topic of girl child infanticide & violence against women in India.It is
a thriller that pans across the city and village tells the story of two
women who collide in a so called developed world where baby girls
better be dead
GRAY 5 12:00hrs
Director: Madhureeta Anand | Producer: Tilak Sarkar (Starfire
Movies), Q Celine Loop (Overdose Joint), Madhureeta Anand (Ekaa Films)
Cast: Meenu Hooda, Ridhima Sud, Kuldip Ruhil | International
Sales: [email protected]
Hindi - Social Issues, Crime, Bollywood - 108 Minutes
144
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BEYOND BLUE - AN UNNERVING TALE OF A DEMENTED MIND
Beyond Blue is an unnerving tale of Manas's demented
mind. An unknown crime fantasy film which revolves around
a man's mysterious and miserable wonderland.Log Line
Beyond Blue is an unnerving tale of Manas's demented mind.
An unknown crime fantasy film which revolves around a man's
mysterious and miserable wonderland.
GRAY 5 14:00hrs
Director: Rajsingh Zanane | Producer: Rajesh Acharya (Nanoland
Ltd.), Omkar Acharya (Nanoland Ltd.) | Cast: Tushar Pandey, Isheta
Sarckar, Dipti Joshi, Ashish Kakkad, Vikas Rathod |
International Sales: [email protected]
Hindi - Crime, Fantasy - 99 Minutes
BOMBAY VELVET
PALAIS F 17:30hrs
International Sales: [email protected]; [email protected]
FIREFLIES
A tragic incident from their childhood has colored the relationship
of two estranged brothers and their journey to find true love.
Fireflies is the story of two estranged brothers, Shiv and Rana.
Living disparate lives, sometimes illuminated by unexpected
intimacies and new found hope, the brothers still remain shackled
to the darkness of their past. Haunting memories of a tragic incident
must be resolved before they can be brothers again.
GRAY 5 18:00hrs
Director: Sabal Singh Shekhawat | Producer: Sabal Singh
Shekhawat | Cast: Rahul Khanna, Arjun Mathur, Shivani Ghai,
Monica Dogra |
English - Family, Drama - 103 Minutes
Cannes Film Market
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SUNDAY, MAY 17
SUNRISE (ARUNODAY)
When a new series of child abductions come up, a detective haunted by
the disappearance of his daughter ten years before must race against
the clock to save the girls and redeem his soul.
Director: Partho Sen -Gupta | Producer: Marc Irmer (Dolce
Vita Films), Partho Sen-Gupta (Independent Movies), Rakesh Mehra
(Independent Movies), Ninah Lath Gupta (Nfdc)
Cast: Adil Hussein, Tannishta Chatterjee, Ashalata Wabgaonkar |
Marathi - Crime, Drama, Thriller - 82 Minutes
GRAY 4 11:30hrs
GOATSPEAK (KHASHI KATHA)
Story about the Journey of a 22 year old girl through Kinship,
Friendship, Failure & Success. The freewheeling passion of youth
and the unpredictable perils of fate are both the subject and the
breathtaking form of 22 year old Salma’s journey through kinship,
friendship, love, failure, and success in the boxing ring.
Director: Judhajit Sarkar | Producer: Tilak Sarkar (Starfire Movies)
| Cast: Naseeruddin Shah |
International Sales: smilefi[email protected]
Bengali - Drama - 108 Minutes
GRAY 5 14:00hrs
MONDAY, MAY 18
BAAHUBALI
PALAIS J 17:30hrs
146
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COUP DE GRACE (KRANTIDHARA)
A positive story of uplifting the society through women empowerment.
It depicts the struggle of a woman with her political career and has
to face the male chauvinist society. This story takes place with the
backdrop of reservation of seats for women in the 3 tier system of
administration in India.
Director: Himanshu Khatua | Producer: Iti Samanta (Kadambini
Media Pvt Ltd) | Cast: Gargi Mohanty, Samresh Routray, Priya
Mishra, Bijaylaxmi Praharaj, Kuresh Mistry, Bhakta Pattanaik |
Oriya - Documentary, Social Issues - 106 Minutes
PALAIS E 18:30hrs
THE JOURNEY TO HER SMILE
Debutante woman director exploring the very current and relevant
issue of child safety in her movie THE JOURNEY TO HER SMILE. The
rise in cases of child abuse and rape in India and worldwide forms the
premise and also lends a dark reality to this moving yet gritty tale of
Revati. Revati is essentially today's mother, juggling with her career and
family. Her world shatters when her five year old daughter is brutally
raped. A woman brimming with life, now she is caught in a traumatic
labyrinth of despair and disconnects from the world around her. The
deep undercurrents of this barbaric act, the impact on the family and if
at all she can get back her life, form the plot of this intriguing film.
GRAY 5 18:00hrs
Director: Sucheta Phule | Producer: Amit Hundekari |
Cast: Aastad Kale, Girija Oak, Anahita H
English, Marathi - First Film, Drama - 70 Minutes
BOMBAY VELVET
PALAIS I 18:00hrs
International Sales: [email protected]; [email protected]
Cannes Film Market
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TUESDAY, MAY 19
THE ANSWER
‘The Answer’ tells the powerful true story of an American, James
Donald Walters. The film portrays his youthful quest for truth, which
took him from his birthplace in Romania, to Switzerland and England,
as far as the United States, where in 1948 in Hollywood, California he
has the extraordinary meeting with Paramhansa Yogananda, the great
Indian Master, author of ‘Autobiography of a Yogi’. Young Donald - later
Swami Kriyananda - is immediately accepted as disciple and so his
amazing spiritual journey begins.
PALAIS C 10:00hrs
Director: Pavan Kaul | Producer: Kaveeta Oberoi Kaul (Yogananda
Films / Kriya Movies) | Cast: Victor Banerji, Leonidas Gulaptis |
English - Drama, Historical - 108 Minutes
THE ANSWER
PALAIS C 14:00hrs
MARDAANI (FEARLESS)
Shivani Shivaji Roy is an astute cop working in a Mumbai Crime Branch
unit. Deft at picking up hidden clues and fearless in confronting hardened
criminals, Shivani stumbles on a case that will change her life forever.
A teenage girl is kidnapped by the child trafficking mafia and smuggled
outside the city. Shivani embarks on an obsessive hunt for the girl and
what follows is a cat and mouse game between a fearless cop and a
ruthless mafia kingpin.
Director: Pradeep Sarkar | Producer: Aditya Chopra (Yash Raj
Films) | Cast: Rani Mukerji |
International Sales: avtar@yashrajfilms.com
PALAIS J 15:30hrs
Hindi - Drama - 113 Minutes
148
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CALCUTTA DETECTIVE (DETECTIVE BYOMKESH BAKSHY!)
In a contemporary interpretation of war torn Calcutta during the 1940’s,
the film follows the first adventure of Byomkesh, fresh out of college,
as he pits himself against an evil genius who is out to destroy the world.
It’s his wits against the most villainous arch criminal the world has
seen, in a world of murder, international political intrigue and seduction.
This is the first in a series that will feature Bengali bestseller writer
Saradindu Banerjee's most famous creation and India's widest
read and best known detective character for the first time in a Hindi
feature.
PALAIS J 17:30hrs
Director: Dibakar Banerjee | Cast: Sushant Singh Rajput |
Hindi - Action/Adventure - 140 Minutes
WEDNESDAY, MAY 20
PALAIS I 09:30hrs
International Sales: [email protected] | Rectangle Media Pvt Ltd
THE ANSWER
PALAIS C 10:00
MY BIG FAT BRIDE (DUM LAGA KE HAISHA)
The story revolves around the life of a small town couple. From
overcoming his fear of the English language to dealing with an
overbearing father, Prem discovers that his oversized wife, Sandhya,
who he thought was a spanner in his business and life, will actually
lead him to something cool.
Director: Sharat Katariya | Producer: Maneesh Sharma (Yash Raj
Films) | Cast: Ayushmann Khurrana, Bhumi Pednekar |
PALAIS H 11:30hrs
Cannes Film Market
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THE ANSWER
PALAIS C 14:00
PIKU
PALAIS H 15:30hrs
Piku (Deepika Padukone) juggles her life as a successful architect and
being a single parent to her 70-year old father Bhashkor Banerji (Amitabh
Bachchan). Getting a life of her own, just doesn’t seem possible – not for
the lack of trying but she’s weighed down by the responsibilities of her
work, home and a hypochondriac father. While both are deeply attached
with one another, they are equally strong headed, stubborn and just
won’t let go when dealing with each other’s idiosyncrasies and quirks!
When Bhashkor emotionally blackmails Piku to take a road trip from
Delhi to native Calcutta, the owner of the local cab company Rana
(Irrfan Khan) has no choice but to drive them personally since none
of his drivers are willing to endure Piku or her eccentric father. During
this crazy road trip they learn to deal with each other’s moods and
idiosyncrasies and it reveals more than Bhashkor’s bathroom habits.
Piku is a heart warming slice of life film about a father daughter
relationship where Bhaskor’s irritating yet endearing demeanor and
Piku’s equally headstrong nature may always be at loggerheads but
this seemingly dysfunctional relationship is bonded by an understated
and an unconditional love that leaves you wanting more.
Director: Shoojit Sircar | Producer: Ronnie Lahiri |
Cast: Amitabh Bachchan, Deepika Padukone, Irrfan Khan |
Log on to
for more film listings
150
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FILMING
IN INDIA
India_Film_Guide_2015_Inner_Pages_149-252.indd 151
13-05-2015 12:54:04
Filming in India
SHOOTING
LOCALES
IN INDIA
India is the most dramatic
shooting location in the world:
snowy mountains, pristine
islands, plunging ravines,
dusty plains--imagine the
earth and get it. Here are the
top Indian locales.
152
13-05-2015 12:54:05
Filming in India
French film Dheepan, parts of which have been shot in Tamil Nadu, India will vie for the coveted Palm
D'Or prize in the Competition Section of the 68th Cannes International Film Festival. India's 'Wide
Angle Creations', led by Suresh Balaje and George Pius collaborated with the Paris-based company
'Why Not Productions' to shoot the Jacques Audiard-directed film in India.
Portions of French film Les Cowboys directed by Thomas Bidegain and Produced by Les Productions
du Trésor was shot in Rajasthan, India. Les Cowboys will be screened in the Directors’ Fortnight
sidebar of the Cannes Film Festival 2015
Cannes Film Market
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Filming in India
Foreign Films Shot in India
Over 100 foreign films were given permission to
shoot in India by the Ministry of Information and
Broadcasting in the last three years
2014
GATEWAY TO HEAVEN
CHINA
2013
THE AMAZING TRIP TO
INDIA
CHINA
ALONE
FRANCE
INTERPRETER OF
MALLDIES
NEW YORK, USA
BOLLYWOOD DREAMS
ISRAEL
HAJI BACKPACKER
INDONESIA
DHAKAR CHELE KOLKATA
MEAY
BANGLADESH
IN HIGH PLACES
UNITED KINGDOM
THE MAN WHO KNEW
INFINITY
UNITED KINGDOM
BEYOND THE KNOWN
WORLD
NEW ZEALAND
THE AMAZING RACE
CHINA
CHINA
POINT BREAK
GERMANY
HOMELAND SEASON-4
CALIFORNIA
PORNU DAIGHO PREM
KAHANI-2
BANGLADESH
DR. CABBIE
CANADA
I ORIGINS
NEW YORK, USA
VICEROY’S HOUSE
UNITED KINGDOM
LONDON HAS FALLEN
UNITED KINGDOM
NIGHT FALLS IN INDIA
MADRID, SPAIN
ROMEO VS JULIET
BANGLADESH
BASMATI BLUES
USA
MASAAN
FRANCE
TEEN TAAL
UNITED KINGDOM
UN PLUS UNE
FRANCE
VICENTE FERRER
SPAIN
COW BOYS
FRANCE
BABY SELLERS
NORTH VANCOUVER (BRITISH
COLUMBIA)
HAMSAFAR KHORSHID
IRAN (UAE)
LION
AUSTRALIA
DHEEPAN
FRANCE
SENSE 8
UNITED KINGDOM
BLACK DIAMOND
FRANCE
PIXELS
CALIFORNIA
DEV BHOOMI
SERBIA
SHARBAT
NEW YORK, USA
A NEW LIFE
GERMANY
MILLION DOLLAR ARM
CALIFORNIA, USA
BIYER PHANDE
DHAKA, BANGLADESH
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Filming in India
Basmati Blues, USA
I Origins, New York, USA
London Has Fallen, UK
The Second Best Exotic Marigold Hotel, UK
Million
Dollar Arm,
California, USA
The Man Who Knew Infinity, UK
ARUNODAY
FRENCH
THE HUNDRED FOOT
JOURNEY
UNITED KINGDOM
THE OTHER SIDE OF THE
DOOR
UNITED KINGDOM
SIX SUSPECTS
UNITED KINGDOM
BEST CHANCE
GERMANY
MUMBAI LOVE
PHILIPPINES
THE COOK
GERMANY
THE SECOND BEST
EXOTIC MARIGOLD HOTEL
UNITED KINGDOM
VAGATOR MIXER
USA
AFRAID
USA
TRACES OF SANDALWOOD
SPAIN
THRONGDRONG
CANADA
ME & YOU VS THE WORLD
INDONESIA
PARCHED
USA
IRYU (MEDICAL DRAGON)
JAPAN
FLIPOUT
UNITED KINGDOM
UTOPIA
UNITED KINGDOM
KABULY PATHAN
AFGHANISTAN
JET TRASH
UNITED KINGDOM
EVEREST
UNITED KINGDOM
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Filming in India
Shooting Guide
Here is the complete checklist provided by the
Ministry of Information and Broadcasting on obtaining
permission to shoot a feature film in India. It is
advisable to engage a (good) production service company to help you manage your project.
temporary import from customs duty.
WHAT SHOULD ACCOMPANY YOUR
APPLICATION?
Your permission to shoot will normally not
take more than three weeks to process.
The permission letter issued by the
Government of India will facilitate your
permission from other local authorities,
which may, in some cases, need to be
obtained directly from these authorities.
You need to send us a simple letter,
telling us of your intention to shoot in
India, mentioning the dates of shooting,
particulars of the cast and crew, and your
chosen locations. Please address your
letter to the relevant address a month
before your planned shooting schedule,
and enclose four copies of the final,
detailed shooting script, a draft/cheque
for US$ 200 drawn in favour of Pay&
Accounts Officer, Ministry of I&B, (MS),
New Delhi (that is a fee for scrutiny of the
script), detailed shooting locations and
particulars regarding the cast and crew
coming to India. No fee is required for
shooting documentaries in India.
In case any living personality is portrayed
in the film as a Character, we suggest that
you share the script with that personality
or his/her legal heirs, before beginning the
shooting, and obtain a ’No Objection Letter’.
This letter will expedite the clearance of
your application, and also guard against the
possibility of any defamation or libel suits.
If you propose to shoot your film as a
Co-Production, a copy of the agreement
between your company and the Indian
party indicating the role of each party,
its responsibilities and liabilities, must
accompany the application.
Should you wish to bring your own shooting
equipment, please send us a list of the
equipment to be temporarily imported. This
will enable us to make a recommendation
to the customs authorities to exempt the
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Filming in India
Do your homework
before picking your
facilitator for your
film project.
If your film requires shooting in the scenic
but sensitive areas of Jammu & Kashmir,
North Eastern India or border belts, your
application will be considered for specific
approval in consultation with the Ministry
of Home Affairs. In such cases, you would
need to allow more time to process your
application.
you to get local clearances, and provide an
interface with any local institutions. Where
a liaison officer is so attached to the
shooting team, the Government of India
will bear his expenses. In exceptional
cases you may need to show the completed
film to a representative of the Government
of India, in India or in an Indian Mission
abroad, before its release anywhere in the
world. This requirement will apply only to
films made on subjects of political, religious
or socio-cultural sensitivity, and is focused
on ensuring that the film has been shot in
accordance with the scrutinized script and
that the film has nothing objectionable
from the point of view of presentation of
a correct and balanced perspective on the
topic covered.
WHAT WILL THE INDIAN MISSION
IN YOUR COUNTRY DO FOR YOU
Do submit the detailed particulars of all
the members of the shooting team to the
Indian Mission in the country from which
they would be departing for India at the
time, indicating your intention to shoot in
India. Our mission will issue them visas in
the normal course.
OTHER THINGS THAT YOU MAY WANT
TO KNOW
An expert from a panel constituted by us
for this purpose will scrutinize your script.
If considered necessary, to facilitate the
shooting, a liaison officer may be attached
to a film shooting team. This officer will help
Cannes Film Market
During the shooting of the film if it is felt
that any material changes or deviation
from the approved script is necessary,
permission may be taken from this Ministry
before shooting these scenes.
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Filming in India
FORMAT OF THE DRAFT UNDERTAKING TO BE SENT BY THE FOREIGN FILM
PRODUCER TO THE GOVERNMENT OF INDIA
To
The Secretary,
Ministry of Information and Broadcasting
Government of India, New Delhi.
Sub:
Sir,
With reference to the Ministry of Information and Broadcasting’s letter No…………………. dated
………………. we hereby give the following undertakings: i. Shooting of the film will be done in locations in India in accordance with the script as approved
by the Government of India. If we consider any material changes are necessary in the script, we
shall obtain, the prior approval of the Government of India for such changes.
ii. We shall furnish the detailed particulars of the members of the shooting team and the exact
locations where the shooting would take place in India at least one month in advance of the arrival of the team in India. We note that prior approval of the Government of India is necessary
for the fixing of locations for shooting in certain areas.
iii. We note that in the case of assistance to be obtained from other Ministries such as Defence,
Education etc. separate agreements as stipulated by these Ministries, are required to be signed
with them.
iv. We shall shoot the film only in the presence of a Liaison Officer where attached to the team by
the Ministry of Information and Broadcasting.
v. We accept that part of the Liaison Officer’s duty will be to ensure that nothing detrimental in
the depiction of India or the Indian people shall be shot or included in the film. In the event of
any disagreement arising between the team and the Liaison Officer in this respect, the matter
will be immediately referred to the Ministry of Information and Broadcasting whose decision will
be final. We shall ensure that India’s security interests are not compromised in any manner.
vi. We undertake to show our completed film to the representative of the Government of India/
the Indian Mission in*_______________ for scrutiny if recommended by the Ministry of I&B and
we further undertake to delete and destroy the portions of the film that may be found objectionable on such scrutiny by the Government of India, before the film is utilized for public exhibition
anywhere in the world.
vii. After the shooting of the film is completed in India we shall provide, in duplicate, to the Ministry
of Information and Broadcasting a narrative report about the details of shooting done in India.
Yours truly
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Filming in India
Travel and Accommodation: Access to any
part of the country with all sorts of boarding
and lodging facilities.
WHAT THE PROFESSIONAL SERVICES
COMPANY WILL DO FOR YOU
Do your homework before picking your
facilitator for your project.
Legal procedures/Government permissions:
They will be able to assist you with Locations:
Locations across the country
1. Legal contracts and agreements
Talent: Actors,
dancers, etc.
3. Film finance and insurances
models,
extras,
2. Clearing and forwarding/customs
singers,
Please provide the Information and
Broadcasting Ministry with the following
information while making your enquiry:
Technicians: Art directors, cameramen,
costume designers, directors, editors,
lyricists, make up stylists, music directors,
photographers, script writers, sound
Name of the Company
Applicant’s name and designation
recordists, etc.
Your contact address, email, telephone
nos
Equipment: 35mm/16mm cameras (ARRI and
PANAVISION), HD camera, jibs and cranes,
dollys and panthers, steadycams, lenses and
filters, lighting equipment and lights, motion
control rigs and gribs, generators, follow cars,
DVD hard disk based sound recorders, mikes
and booms, etc.
Project title and language
Nature of project (Film/TV/Docu/Ad Film)
Synopsis in English
Duration of filming in India
No. of crew travelling to India
Post production facilities: Digital Intermediate
(D.I.), editing (linear and non-linear), grading
at telecines, processing and printing, visual
effects, computer graphics, animation (2D, 3D,
Claymation), sound mixing (rerecording).
Equipment and gear to be brought
into India.
SEND YOUR APPLICATIONS FOR SHOOTING
FEATURE FILMS/TELEFILMS IN INDIA TO:
DESK OFFICER (FI), A WING, ROOM NO. 107
GOVERNMENT OF INDIA
SHASTRI BHAVAN, NEW DELHI - 110001 INDIA
usfi[email protected]
PH: +91-11-23384995
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INDIAN FILM SHOOTING LOCALES
Filming in India
Ladakh
Karnataka
If the Himalayas can be likened to
an oyster, then Ladakh is the pearl.
Nestled in the womb of the Himalayas,
the main attraction is the 9-storied
royal palace styled on the lines of the
famous Potala Palace of Tibet. There
are the trekking trails, the temples of
Chamba and Jo Kang Gompa and the
Zanskar Valley.
Houses the Silicon City of India. And
a whole array of health spas. A range
of architecture depicted through
its palaces, temples, mausoleums,
monuments and ruins. Sanctuaries,
national parks and waterfalls. Endless
beaches, forests, scenic hills and
modern cityscapes.
Puducherry
New Delhi
Ang Lee’s Oscar winning film ‘Life of
Pi’ was shot partly in Puducherry (in
South India). That has transformed
Puducherry into a paradise for
filmmakers. A French colony until 1954,
this coastal town retains a number of
colonial buildings, churches, statues,
and systematic town planning and is
dubbed ‘The Europe of India’.
Delhi has been the capital of successive
dynasties and was the ‘Jewel in the
Crown’ of the British Empire. The city has
a continuous living history of more than
3000 years and has been one of the most
important cities of India. This eternal city
offers a sumptuous banquet of history
and heritage, seamlessly in tune with its
transformation as one of the world’s fastest
growing and largest metropoles today.
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Filming in India
Maharashtra
Gujarat offers beautiful landscapes of various
natures, it is interspersed with culture,
tradition and festivities. Gujarat has a diverse
portfolio of landscapes, from the hills of
Saputara, to the white desert in Kutch, from
the jungles of Gir to virgin beaches. Such
landscapes, coupled with some beautiful
heritage structures, make Gujarat a unique
destination for filmmakers. These locales
cater to every mood for every canvas.
India in microcosm, Mumbai, or Bombay
as it was once known, provides an excellent
backdrop for the race that always finishes in
the future. Slick and bright urban exteriors
that have dark underbellies interrupted
by colours that connect across time. Busy
bustling daytimes with brightly lit nights that
blink and shimmer to a heady beat of people
and machines, avant garde and artless,
incessantly on the move.
Kolkata
Himachal Pradesh
The British are long gone but the colonial
influence still remains, in the look of its
buildings and monuments. Interiors and
mindsets that haven’t morphed with the
times yet co-exist happily with today. The
quaint hand-pulled rickshaws, the Chinese
district. The boatsman taking people across
the Hoogly as modern vehicles criss-cross
the Howrah Bridge.
From hills to mountains, capped by
snowy peaks; punctuated by passes
and glaciers. Dotted by rich flora and
abundant variety of wildlife with 90%
of its seven million population people
residing in rural areas. Himachal
Pradesh has an abundance of parks, rich
with flora and fauna and regions that
experience temperature extremes.
Cannes Film Market
Gujarat
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Filming in India
Goa
Rajasthan
The Cannes of India. Currently known
as the host city of International Film
Festival of India. A land of sun, sea
and sand; feni, fun and frolic. Beaches
galore, churches and saints, music and
dance, festivals and carnivals. Where
people enjoy music and dance and raise
a toast to celebrate every occasion.
Rajasthan is filmmakers’ paradise
and a dream destination for film
shooting - inspiring forts, majestic
mansions, havelis of architectural
splendour, heritage hotels, picturesque
surroundings, wilderness of silence.
The State has a film-friendly policy and
encourages filmmakers both within
and outside the country.
Varanasi
Kerala
Its university is the seat of knowledge
and ancient wisdom and the burning
ghats along the river Ganga the
apparent route to salvation and
eternal peace. Spiritual and mystic
moods meld with stark realities of
everyday existentialism and the frolic
of innocence.
Kerala, commonly referred to as God’s
own country, never lets one down. A small
stretch of land, with its cool mountains in
the east, rolling hills in the middle which
ultimately reach out to the west to the
long stretches of pristine, untouched
beaches. This unmatched visual feast is
complemented by its famous backwaters
sandwiched between the sea and the land.
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Filming in India
Jharkhand
Ramoji Film City in Hyderabad is the world’s
largest integrated film studio complex and one
of Asia’s most popular tourism and recreation
centers. Hyderabad features many heritage
buildings constructed during Qutb Shahi
and Nizam eras, showcasing Indo-Islamic
architecture influenced by Medieval, Mughal
and European styles. Hyderabad houses the
Telugu film industry which produces over 200
films each year.
Jharkhand is a nature lover’s paradise. It is
home to countless waterfalls -- Hundru Falls,
Lodh Falls and Johna Falls. The State’s locales
include forests, hills, valleys, waterfalls,
wildlife, history, culture, charming towns and
vibrant cities. It is an unexplored paradise and
will be filmmakers’ delight for new locales.
Kashmir
Madhya Pradesh
The Dal Lake dotted with innumerable houseboats
and the distant snow covered mountains. Each
houseboat with its own interior layout. Gulmarg,
Sonmarg and Pahalgam at higher levels. A
warm and outgoing local populace adding its
own unique colour to the surroundings. A hint of
uneasiness sometimes. And a visual of debris of
violent terror attacks contrasts with the colours
and culture of a peace-loving people and the
beauty of the general environment.
Madhya Pradesh is called the Heart of
India because of its location in the centre
of the country. The State has everything -spectacular mountain ranges, meandering
rivers dotted with hills and lakes and miles
and miles of dense forests offering a unique
and exciting panorama of wildlife in sylvan
surroundings. Innumerable monuments,
exquisitely carved temples, stupas, forts &
palaces are dotted all over the State.
Cannes Film Market
Hyderabad
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13-05-2015 12:54:54
FILM
BODIES
Ministry of Information and
Broadcasting, Government of India
Cannes Film Market
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Indian Film Bodies
Directorate of Film
Festivals
DFF promotes international friendship, provides access
to new trends in world cinema, generates healthy
competition and, in the process, helps improve standard
of films.
irectorate of Film Festivals was set up
by the Government of India in 1973 to
organize International and National
Film Festivals within the country. DFF facilitates
India’s participation in Festivals abroad,
arranges programmes of foreign films in India
and Indian films abroad and holds the National
Film Awards function.
D
As a vehicle of Cultural Exchange, DFF promotes
International friendship, provides access to
new trends in world Cinema, generates healthy
competition and, in the process, helps to improve
the standards of Indian Films.
These objectives are served by organizing the
following activities.;
The International Film Festival of India.
The National Film Awards
Dadasaheb Phalke Award.
and
the
Cultural Exchange Programme and
organizing screening of Indian films through
the missions abroad.
Selection of Indian Panorama.
Participation in International Film Festivals
abroad.
Special film expositions on behalf of the
Govt. in India.
Print collection and documentation.
These activities provide a unique platform for
an exchange of ideas, culture and experiences
between India and other countries in the field
of cinema. It also provides a powerful platform
for Indian cinema and opens up commercial
opportunities for Indian films. Within the
country, the latest trends in global cinema are
made accessible to the general public, film
industry and students.
DFF provides a powerful platform for
Indian cinema and opens up commercial
opportunities for Indian films
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Indian Film Bodies
National Film Awards
he National Film Awards is one of the most
prominent film award ceremonies in India.
Established in 1954, it aims at encouraging the
production of films of aesthetic and technical
excellence and social relevance contributing to
the understanding and appreciation of cultures of
different regions of the country in cinematic form
and thereby also promoting integration and unity
of the nation.
T
The awards also aim at encouraging the study
and appreciation of cinema as an art form
and dissemination of information and critical
appreciation of this art form through publication
of books, articles, reviews, etc.
The National Awards, along with Indian Cinema’s
highest honour, Dadasaheb Phalke Award, are
presented by the President of India in a solemn
function in the presence of the Union Minister
of Information and Broadcasting, Chairpersons
of the three juries, representatives of Film
Federation of India and Confederation of All India
Cine Employees and senior officials. The 62nd
National Film Awards for the year 2014 were
presented on May 3, 2015.
SPOT INFORMATION: + 91 11 26499371
WEBSITE: www.dff.nic.in; EMAIL: [email protected];
Director: C Senthil Rajan; FOCUS: National Film Awards and
Dadasaheb Phalke Award, International Film Festival of India including
India Panorama, Cultural Exchange Programme and Participation in Film
Festivals in India and abroad.
ADDRESS: Directorate of Film Festivals, Ministry of Information &
Broadcasting Government of India, Siri Fort Auditorium Complex,
August Kranti Marg, New Delhi-110049
Cannes Film Market
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Indian Film Bodies
International Film Festival
of India
The aim of IFFI is to provide a common platform for the
cinemas of the world to project the excellence of film art
ne of the most important activities
of the Directorate of Film Festivals is
organizing the annual International
Film Festival of India (IFFI). The IFFI aims at
providing a common platform for the cinemas
of the world to project the excellence of the
film art; contributing to the understanding
and appreciation of film cultures of different
nations in the context of their social and
cultural ethos; and promoting friendship and
cooperation among people of the world.
O
Nothing exemplifies the Indian notion of
non-violence and peaceful coexistence as
Vasudhaiva Kutumbakam (the entire world is
a one big family), the phrase in which the IFFI
and its theme are rooted.
The 1st edition of IFFI was organized by the
Ministry of Information and Broadcasting,
Government of India in 1952. Since its
beginnings in 1952 the IFFI has been the
biggest event of its type in India. In 2004 the
IFFI was moved to Goa.
The
IFFI’s
founding
principles
centre
on discovery, promotion and support of
filmmaking of all genres – thus bringing
together the diversity of forms, aesthetics and
contents.
The Festival is an assembly of people and
nations where the world’s greatest film
artistes hold hands with emerging talents on
an equal footing. It is also a forum for film
professionals to communicate face to face
with film lovers around the world.
IFFI aims to nurture, encourage and inspire
Indian cinema and introduce it to the world
outside as well as the many audiences that
coexist in this vast and diverse country. With
rapid technology changes, the importance
of this festival will only grow as it will bring
viewers and filmmakers together and expose
them to emerging technologies and the
challenge of the emerging new media.
New interactions are envisaged; new strategies
would be formulated so that with each edition
of IFFI, the viewing experience is enhanced,
enlarged and enriched.
IFFI, Goa, 2014 Stats
•
•
•
•
Total number of delegates: 12,755
Total Award money: Rs 1.2 crore (Indian rupees)
Life Time Achievement Award to Wong Kar-wai (China)
One of the oldest festivals in Asia & the biggest in India.
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Indian Film Bodies
IFFI, Goa
FIAPF-recognised International Film Festival
of India, which steps into its 46th year in 2015,
was initially established as part of the national
cultural pedagogic project in tandem with the
Nehruvian vision of promotion of art and culture
in independent India.
The mission was to create a seminal event
to showcase alternate cinema and also to
introduce Indian Cinema to the world and
vice versa.The vision of a ‘National Cinema
Collective’ has also been instrumental in
framing a ‘National Cinema’, the kind of cinema
reflecting the values and aesthetics the nation.
A total of over 315 films from 80 countries
were screened during the festival. The Russian
Film "Leviathan" has been awarded the Golden
Peacock at the 45th International Film Festival
of India (IFFI) for the Best Film.
SPOT INFORMATION: +91 1126499371, +91 1126499356
WEBSITE: http://www.iffi.nic.in
EMAIL: iffi[email protected], iffifi[email protected]
DIRECTOR: C Senthil Rajan
OBJECTIVE: Platform for the cinemas of the world
November 20-30, 2015
ADDRESS: International Film Festival Of India,Ministry of
Information & Broadcasting Government of India, Siri Fort
Auditorium Complex, August Kranti Marg, New Delhi-110049
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Indian Film Bodies
Children’s Film Society,
India
CFSI remains the prime producer of children’s films
in India and has created some of the most delightful
content in the country.
hildren’s Film Society, India (CFSI) is
an autonomous body under the Ministry
of Information & Broadcasting,
Government of India. CFSI was constituted
in 1955 to make cinema for children that is
both entertaining as well as educative. Since
then CFSI has been producing, exhibiting
and distributing films, serials, animations &
documentaries as well as numerous other
activities to strengthen the children’s film
movement in India.
C
CFSI remains the prime producer of children’s
films in India and has created some of the most
delightful children’s content in the country.
Since profit is not the only motive, CFSI is able
to support young talented filmmakers and
their imaginative films that would otherwise
not find other commercial producers.
CFSI films always encourage children to
reflect upon and engage with the world around
them. These films are made in several Indian
languages and emanate from diverse cultural
regions within India. Several stalwarts from
the Indian film industry have directed films
for CFSI and many of its films have won
prestigious international and national awards.
CFSI promotes films that provide healthy
and wholesome entertainment for children
to broaden their perspective and encourage
them to reflect on the world around. With an
enviable catalogue of 250 films in 10 different
languages, CFSI remains the prime producer
of children's films in South Asia. We also
organise film screenings across the country,
reaching out to approximately four million
children annually.
CFSI is committed to strengthening the
children's film movement within India and
promoting Indian produced children's films
across the globe. CFSI also conducts a world
renowned biennial International Children’s
Film Festival ‘Golden Elephant’.
With a catalogue of 250 films in 10
languages, CFSI remains the prime
producer of children's films in South Asia
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Indian Film Bodies
International Children’s
Film Festival India
nternational Children’s Film Festival India (ICFFI),
also popularly known as The Golden Elephant, is a
biennial festival that strives to bring the most delightful
and imaginative national and international children’s
cinema to young audiences in India. Outstanding features,
shorts, live action and animation films are screened over
seven days of festive celebrations, attended by more
than one hundred thousand children. Hundreds of film
professionals from across the world meet in Hyderabad,
Andhra Pradesh.
I
The 19th edition of 'The Golden Elephant,' will take
place from November 14 - 20. The films produced
between August 2013 to July 2015 are eligible for
participation in Competition Section of the Festival. A
Selection Committee of experts from the film world and
allied fields will preview the films received for different
sections of the Festival and select for festival screening.
The last date for call of entries will be 31st July 2015.
For further assistance contact Festival Coordinator –
icffi@cfsindia.org
Cannes Film Market
SPOT INFORMATION:
+ 91 22 – 2352 2870
WEB SITE: www.cfsindia.org
EMAIL: [email protected];
[email protected];
CEO: Shravan Kumar
FOCUS: To strengthen children's
film movement in India.
ADDRESS:
Children's Film Society India,
8th Floor, Films Division Complex
24-Dr. G. Deshmukh Marg,
Mumbai-400 026 (India)
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Indian Film Bodies
Films Division
Films Division has actively worked in encouraging
and promoting a culture of documentary filmmaking
in India thatrespects individual vision and social
commitment.
he Films Division of India was
established in 1948 to articulate the
energy of a newly independent nation.
For more than six decades, the organization
has relentlessly striven to maintain a record of
the social, political and cultural imaginations
and realities of the country on film. It has
actively worked in encouraging and promoting
a culture of documentary filmmaking in India
that respects individual vision and social
commitment.
T
It is the main film-medium organization of the
Government of India and is well equipped with
trained film personnel, cameras, recording
and editing facilities. This infrastructure is put
to use to assist in-house as well as freelance
filmmakers and producers.
In its archives, the Films Division of India
holds more than 8000 titles on documentaries,
short films and animation films.
Some of the films produced by Films Division
are telecast on national / local television
networks. Educational institutions and social
organisations all over the country borrow
films of Films Division from its branch office
libraries maintained all over India. VCD/DVD of
the films are sold to interested people, public
and private institutions at nominal cost.
172
The External Publicity Division of Ministry of
External Affairs, Govt. of India, distributes
prints of selected films to Indian Missions
abroad. The films are also commercially
exploited on Royalty basis by supplying to
overseas video /TV networks.
Films Division has 10 Distribution Branch
Offices located in Bangalore, Mumbai
(Bombay), Kolkata, Hyderabad, Lucknow,
Chennai
(Madras),
Madurai,
Nagpur,
Thiruvananthapuram and Vijayawada, which
cater to over thousands of cinema houses in
the country with an audience of about ninety to
hundred million per week. Films Division also
supplies CDs to mobile units of the Directorate
of Field Publicity and the Departments of
Central as well as State Governments.
Films Division has experienced and trained
technical and non–technical persons for
filmmaking, right from script writing to
distribution. It is well equipped with movie
cameras, video cameras, sound recording and
video equipment. It has on-line video editing
facilities with the latest and best available
equipment in the world. These resources
(including video editing) are available to
outsiders also, on rental basis.
13-05-2015 12:54:57
Indian Film Bodies
We need image here
Mumbai International
Film Festival
he Mumbai international Film Festival for Documentary,
Short and Animation films (MIFF) is a biennial competitive
event organised by the Films Division, Ministry of Information
& Broadcasting, Government of India. The Government of
Maharashtra supports the festival with a Grant-in-Aid. The MIFF,
which began in the year, 1990 is the oldest and largest film festival
for non-feature genre in the South Asia and Films Division has
successfully organized 13 editions of the film festival. The 14th
edition of MIFF will be held in January-February,2016 in Mumbai.
T
The MIFF attracts best films from all over the world which vie for
top honours including Golden Conches and attractive cash awards.
Apart from Indian and International Competition categories,
MIFF also have sections like MIFF Prism, Homages, Country
Focus, Retros and Special Packages. A veteran from the Indian
documentary fraternity is honoured with the Dr. V Shantaram
Lifetime Achievement in the MIFF. The festival also hosts events
like seminars, work shops, lecture-demonstrations, Master classes,
Producers Forum, Doc edge and Open Forum.
Cannes Film Market
SPOT INFORMATION:
+91 22 2355 1301/2351 3633
WEBSITE: http://www.filmsdivision.org / www.miff.in
EMAIL: dgfd@filmsdivision.org
dgfi[email protected]
DG: V. S. Kundu
OBJECTIVE: Promoting documentary film culture in India
ADDRESS: Films Division, Ministry of Information & Broadcasting, Government of India, 24 – Dr.
G. Deshmukh Marg, Mumbai-26.
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Indian Film Bodies
National Film Development
Corporation
As the name suggests, NFDC does a lot for the growth of
Indian cinema. It breaks new grounds by co-producing
movies, facilitates services and organises Film Bazaar.
ncorporated in the year 1975, NFDC was
formed by the Ministry of Information and
Broadcasting, with the primary objective of
promoting the Good Cinema Movement.
I
to support the development, financing and
distribution of independent films across the
country. Film Bazaar, a NFDC initiative, has been
an integral part of this process.
NFDC has over the years produced noteworthy
films with acclaimed filmmakers like
Ghare-Baire(Satyajit Ray), Gandhi (Richard
Attenborough), The Making of the Mahatma
(ShyamBenegal), Salaam Bombay (Mira
Nair), JaaneBhi Do Yaaro(Kundan Shah),
MirchMasala(Ketan Mehta), The Lunchbox
(RiteshBatra), The Good Road (Gyan Correa),
among many others.
NFDC organizes Film Bazaar(20th - 24th
November 2015, Goa Marriott Resort), side by
side the International Film Festival Of India,
Goa (20TH -30TH November, 2015). The Film
bazaar is South Asia’s global Film Market, which
is a platform exclusively created to encourage
collaboration between the international and
South Asian film fraternity. The Bazaar is focused
on discovering, supporting and showcasing
South Asian content and talent, in the realm
of filmmaking, production and distribution. A
converging point for film buyers and sellers
from all over the world, the Bazaar also aims
at facilitating the sales of world cinema in the
South Asian Region. The 2014 market saw an
attendance of 1042 delegates from 38 countries.
Film Offices, a new segment, has been introduced
at Film Bazaar 2014, to bring to our filmmakers
the world of picturesque locations that would
fit into their scripts and add value to their films.
The basic objective of Film Offices is to connect
Indian State Tourism bodies and International
Film Commissions with Indian filmmakers.
The Offices provide these organizations with
a platform to showcase their locations and
incentives that will benefit both the country and
the filmmaker.
With financial support extended to more than
300 films in 21 regional languages, NFDC’s
architecture aims towards creating domestic
and global appreciation of good cinema.
Apart from its unique positioning in the film
industry as a film development agency, NFDC
also functions as a business unit by producing
advertisement campaigns supplemented with
360 degrees support to government clients. So far,
NFDC has strategized and developed significant
communications for the Ministry of Women and
Child Development, Ministry of Environment &
Forests, Ministry of Rural Development, Ministry
of Minority Affairs, Ministry of Consumer Affairs,
amongst many others.
In addition to production of films, NFDC has
been instrumental in creating an ecosystem
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Indian Film Bodies
Film Bazaar India
FDC organises the Film Bazaar (20th - 24th
November 2015, Goa Marriott Resort), South
Asia’s global Film Market, which is a platform
exclusively created to encourage collaboration
between the international and South Asian film
fraternity. The Bazaar is focused on discovering,
supporting and showcasing South Asian
content and talent, in the realm of filmmaking,
production and distribution. A converging
point for film buyers and sellers from all over
the world, the Bazaar also aims at facilitating
the sales of world cinema in the South Asian
Region. Film Offices, a new segment, has been
introduced at Film Bazaar 2014, to bring to
Indian filmmakers the world of picturesque
locations that would fit into their scripts and add
value to their films. The Offices provide these
organisations with a platform to showcase their
locations and incentives that will benefit both
the country and the filmmaker.
N
Cannes Film Market
SPOT INFORMATION: +91 22662 88288
WEBSITE: http://www.nfdcindia.com/
EMAIL: [email protected]
MD: Nina Lath Gupta
OBJECTIVE: Promote South Asian Cinema
ADDRESS:
National Film Development Corporation,
6th Floor, Discovery of India Building,
Nehru Centre, Dr. Annie Besant Road,
Worli, Mumbai 400 018, Maharashtra.
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Indian Film Bodies
Film and Television
Institute of India, Pune
Designed for a new generation storytellers, the Film and
Television Institute of India is for visual and performing
artists who share a passion for motion pictures and
want to learn more.
he Film and Television Institute of
India is designed for a new generation
of storytellers: visual and performing
artists who share a passion for motion
pictures and want to learn by making their
own projects in a hands-on, intensive program.
FTII students are not lost in large classes. As
an explicit policy, we limit class size to make
individual attention and interaction among
students and instructors possible. All students
are encouraged to meet faculty one-on-one for
consultation throughout their course, creating
an environment that promotes personal
development and learning.
great work. Celebrated guest speakers from
the film, television, and media industries
frequently visit FTII to share their knowledge
and experience with our students.
In keeping with this philosophy, FTII takes
pride in its open door policy of admission.
Students from diverse backgrounds and from
all walks of life are welcome. This nurtures
a supportive, positive atmosphere conducive
to the level of collaboration required to do
Women in Film and Television, India (WIFT)
was launched last year at FTII, Pune. WIFT
India is a global not-for-profit organisation
dedicated to provide a dynamic platform to
facilitate and recognize the achievement of
women in film, TV and multi-screen media.
T
Learning to be a Director, Cinematographer,
Editor, Sound Designer, Art Director, Actor,
Screen Play Writer or Animator is not done
“by mere numbers.” It is done by handson experience, trial and error, feedback and
correction, and questions and answers.
Filmmaking demands the integration of many
kinds of knowledge. It is the integration of
knowledge that distinguishes FTII from many
other film schools.
SPOT INFORMATION: +91-020-25431817
WEBSITE: http://www.ftiindia.com
DIRECTOR: D.J.Narain
OBJECTIVE: National Centre of Excellence
ADDRESS: Film and Television Institute of India, Law College Road,
Pune – 411 004
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Indian Film Bodies
Satyajit Ray Film and
Television Institute,
Kolkata
A national centre of excellence which offers post graduate programmes in cinematic studies, the institute is
named after legendary filmmaker Satyajit Ray.
N
amed after the legendary film maestro
Satyajit Ray, the Institute has emerged
as a national centre of excellence which offers post-graduate programmes in Cinematic
studies.
craft and entrepreneurial abilities. By proving their mettle as dedicated professionals,
they have increased the acceptability of current students in the complex and competitive
world of filmmaking.
SRFTI has succeeded in articulating and
disseminating classical and contemporary
theories of praxis for creative minds to leap
into the world of professional practice: be it
mainstream, parallel/art-house, experimental or non-fiction narratives. The Institute has
crossed many milestones towards a new paradigm of the art and craft of Filmmaking.
With state-of-the art facilities, SRFTI provides a creative ambience to inspire the budding filmmakers with an innovative language
of artistic expression.
SRFTI’s alumni have won accolades regularly
through their mastery over filmmaking. They
have been trendsetters, changing the course
of filmmaking through the fusion of thought,
And their contribution builds the blocks for
better Cinema. SRFTI is a member of CILECT,
International Association of Film and Television Schools (Centre International de Liaison
des Ecoles de Cinéma et de Télévision).
SRFTI will soon commence three year post
graduate programme in Animation.
SPOT INFORMATION: +91-033-24328355/8356/9300
WEBSITE: www.srfti.gov.in
DIRECTOR: Sanjay Pattanayak
OBJECTIVE: National Centre of Excellence
ADDRESS: Satyajit Ray Film & Television Institute, E.M.Byepass Road,
P.O. Panchasayar, Kolkata-700094
Cannes Film Market
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13-05-2015 12:54:59
CO-PRODUCTION
AGREEMENTS
Between India & other Countries
Cannes Film Market
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Co-Production Agreements
BRAZIL
AGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC
OF INDIA AND THE GOVERNMENT OF THE FEDERATIVE
REPUBLIC OF BRAZIL ON AUDIO VISUAL CO-PRODUCTIONS.
Th
The G
Government off the
h R
Republic
bli off I
India
di and
d
the Government of the Federative Republic
of Brazil (hereinafter referred to as “the Contracting Parties”)
Seeking to enhance co-operation between
their two countries in the audio-visual area;
Desirous of expanding and facilitating the CoProduction of audio-visual works, which may
be conducive to the development of the film
and audio-visual industries of both countries
and to the expansion of cultural and economic
exchanges between them;
Convinced that these exchanges will contribute
to the enhancement of relations between the
two countries;
2.
Work”
2 “Audiovisual
“A di i l W
k” means any record
d off a
sequence of related images, irrespective
of length, which is intended to be made
visible as a moving image through the
use of devices, regardless of the medium
of initial or subsequent fixation, and for
which there is an expectation for public
exhibition. It includes films and video
recordings, animation and documentary
productions for exploitation in theatres,
on television, DVD or by any other form
of distribution. New forms of audiovisual
production shall be included in the present
agreement by exchange of Notes between
the Contracting Parties.
Have agreed as follows:
3. “Co-producer” shall be:
a. As regards the Republic of India:
Article 1
Definitions
For the purposes of this Agreement
1. “Audiovisual Co-Production” means an
audiovisual work jointly invested in and
produced by one or more Brazilian Coproducers and one or more Indian Coproducers under a project approved by
both Competent Authorities.
(i)
Nationals/citizens of the Republic
of India;
(ii) Permanent residents of India; and
(iii) Entities which are established
and/or incorporated in India.
b. As regards the Federative Republic of
Brazil:
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(i)
Nationals/citizens of the Federative
Republic of Brazil;
(ii) Permanent residents of Brazil;
and
(iii) Entities which are established
and/or incorporated in Brazil.
3. In considering proposals for the making
of an Audiovisual Co-Production, both
Competent Authorities shall apply the rules
and principles set out in this Agreement as
well as in its Annex, with due regard for
their respective policies and guidelines.
Article 4
4. “Competent Authority” means:
a. On behalf of the Federative Republic of
Brazil, the Ministry of Culture; and
Contributions
1. For each Audiovisual Co-Production:
a. The performing, technical, craft
and creative participation of the Coproducers; and
b. On behalf of the Republic of India,
the Ministry of Information and
Broadcasting.
b. The production expenditure of the Coproducer in the Republic of India or in
the Federative Republic of Brazil shall
be in reasonable proportion to their
respective financial contributions and
as mutually decided by both the Coproducers.
Article 2
Benefits
1. An Audiovisual Co-Production shall
be treated as a national Audiovisual
Work by both Contracting Parties and,
therefore, shall be fully entitled to all the
benefits which are or may be accorded to
national audiovisual works by each of the
Contracting Parties under their respective
national laws.
2. Any benefits available in Brazil may only
be accorded to a Brazilian Co-producer.
3. Any benefits available in India may only be
accorded to an Indian Co-producer.
4. The sharing of expenses and revenues shall
be as mutually decided by the Co-producers.
Article 3
2. Both the financial contribution, and the
managerial, performing, technical, craft
and creative participation of each Coproducer shall account for at least 20%
(twenty per cent) of the total budget of the
Audiovisual Co-Production.
3. Notwithstanding the contribution and
participation rules set out in paragraphs 1
and 2 of this Article, in exceptional cases
both Competent Authorities may approve
Audiovisual Co-Productions where:
a. The contribution by one Co-producer is
limited to the provision of finance only,
in which case the proposed financeonly contribution shall be 20% (twenty
per cent) or more of the total budget of
the Audiovisual Co-Production; or
Approval of Projects
1. Audiovisual
Co-Productions
shall
require, prior to the commencement of
shooting, approval of both the Competent
Authorities.
2. Approvals are granted under their
respective national laws, shall be in writing
and shall specify the conditions upon
which the approval is granted. None of the
Co-producers shall be linked by common
management, ownership or control, save
to the extent that such links are inherent
in the making of the Audiovisual CoProduction itself.
Cannes Film Market
a. Despite falling outside the contribution
rules, the Competent Authorities
consider that the project would further
the objectives of this Agreement and
should be approved accordingly.
4. Subject to the specific conditions and limits
laid down in laws and regulations in force
in the Contracting Parties, in the case of
multilateral Co-Productions the minority
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contribution may not be less than 10% (ten
per cent), and the majority contribution
may not exceed 70% (seventy per cent) of
the total cost of the Audiovisual Work.
Article 5
Third Country Co-Productions
1. Where either the Republic of India or the
Federative Republic of Brazil maintains
with a third country an Audiovisual CoProduction agreement, the Competent
Authorities may approve a project for
an Audiovisual Co-Production under
this Agreement that is to be made in
conjunction with a Co-producer from that
third country.
2. Approvals under this Article shall be limited
to proposals in which the contribution
of the third country Co-producer is no
greater than the lesser of the individual
contributions of the Brazilian and Indian
Co-producers.
Article 6
Participants
1. The screenwriters, the director, actors
and other artistic and technical personnel
participating in an Audiovisual CoProduction shall be:
a. As regards the Republic of India,
(i) Nationals/citizens of Republic of
India; and
(ii) Permanent residents of India.
b. As regards the Federative Republic of
Brazil,
(i) Nationals/citizens of the Federative
Republic of Brazil; and
(ii) permanent residents of Brazil.
c. In cases in which there is a third Coproducer,
(i) Nationals/citizens of the third Coproducer’s country; and
(ii) Permanent residents of the third
Co-producer’s country.
2. Participants in an Audiovisual CoProduction as defined in this Article must
at all times throughout the production
retain their national status, and may not
acquire or lose such status at any point
during the course of production activity.
3. In exceptional cases, both Competent
Authorities may approve Audiovisual
Works
a. where script or financing dictate the
engagement of performers from other
countries; and
b. where artistic or financing reasons
dictate the engagement of technical
personnel from other countries.
Article 7
Negatives, First-Release Print and Languages
1. At least one negative and one duplicate
negative shall be made of all Audiovisual
Co-Productions. Each Co-producer shall
be entitled to make a further duplicate
or prints there from. Each Co-producer
shall also be entitled to use the original
negative in accordance with the conditions
agreed upon between the Co-producers
themselves. The storage of the original
negative shall be as mutually decided by
the Co-producers.
2. Audiovisual Co-Productions shall be made
and processed up to the manufacture of
the first release print in the Republic of
India or in the Federative Republic of Brazil
or, when there is a third Co-producer, in
that third Co-producer’s country.
3. The original soundtrack of each Audiovisual
Co-Production shall be made in Hindi,
or any other Indian language or dialect,
or in English or Portuguese, or in any
combination of those permitted languages.
Dialogue in other languages may be
included in the Audiovisual Co-Production,
as the script requires.
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4. The dubbing or subtitling into one of the
permitted languages of the Republic of
India or into Portuguese shall be carried out
in the Republic of India or in the Federative
Republic of Brazil. Any departure from
this principle must be approved by the
Competent Authorities.
Article 11
Temporary Entry into the Country
1. For approved Audiovisual Co-Productions,
each Contracting Party shall facilitate, in
accordance with the domestic law in force
in its country:
a. Entry into and temporary residence in
its territory for technical and artistic
personnel of the other Contracting Party;
Article 8
International Festivals
1. The majority Co-producer shall normally
enter Audiovisual Co-Productions in
international festivals.
b. The import into and export from
its territory of technical and other
filmmaking equipment and materials
by producers of the other Contracting
Party; and
2. Audiovisual works produced on the basis
of equal contributions shall be entered as
an Audiovisual Work of the country which
the director is from.
Article 9
Location Shooting
1. The Competent Authorities may approve
location shooting in a country other than
those of the participating Co-producers.
2. Notwithstanding Article 6, where location
shooting is approved in accordance with
the present Article, citizens of the country
in which location shooting takes place may
be employed as crowd artists, in small
roles, or as additional employees whose
services are necessary for the location
work to be undertaken.
Article 10
Credits
An Audiovisual Co-Production shall include
a title, in the initial credits, indicating that
the Audiovisual Work is an “Official Indian
– Brazilian Co-Production” or an “Official
Brazilian – Indian Co-Production”. The
promotional material associated with the
audiovisual work shall likewise include a credit
reflecting the participation of the Republic of
India, the Federative Republic of Brazil and,
when relevant, the country of a third Coproducer.
Cannes Film Market
c. The transfer of funds destined for
payments related to the audio-visual
Co-Productions.
2. These dispositions also apply to third
parties, approved under Article 5 of the
present agreement.
Article 12
Joint Commission
1. A Joint Commission shall be established
comprising representatives of the
Competent
Authorities
from
both
Contracting Parties.
2. The role of the Joint Commission shall
be to evaluate the implementation and
operation of this Agreement and to make
any proposals considered necessary to
improve the effect of the Agreement.
3. The Joint Commission shall be convened,
whether by meeting or otherwise, at the
request of either of the Contracting Parties
within six months of such a request.
Article 13
Entry into Force
1. This Agreement shall enter into force on
the date of the second notification between
the Contracting Parties, through diplomatic
channels, conveying that the requirements
for the entry into force of this Agreement
have been satisfied.
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2. This Agreement including the Annex, which
forms an integral part of this Agreement,
shall remain in force for an unlimited
period of time, unless terminated in terms
of paragraph 3 of this Article.
3. Either Contracting Party may terminate
this Agreement by giving six months`
written notice in advance of such intention
to the other Contracting Party through the
diplomatic channel.
4. Termination of this Agreement shall have
no effect on the completion of Audiovisual
Co-Productions approved prior to its
termination.
Article 14
Permission for Public Exhibition
1. Permission for public exhibition will be in
accordance with local laws in both India
and Brazil.
2. The approval of Co-Production status
under this Agreement will not mean a
commitment to permit public exhibition of
the Audiovisual Co-Production.
Article 15
Amendment
1. This Agreement may be amended by
mutual consent of the Contracting Parties
through the exchange of notes between
the Contracting Parties through diplomatic
channel.
Article 16
Dispute Resolution
Any dispute between the Contracting
Parties arising out of the interpretation or
implementation of this Agreement shall be
settled consensually through consultation and
negotiation only.
DONE at New Delhi, on the of June, 2007, in two originals in Hindi, Portuguese, and English, each
version being equally authentic. In case of any divergence of interpretation, the English text shall
prevail.
For the Government of Federative
Republic of BRAZIL
For the Government of
Republic of INDIA
Authority within thirty (30) days
of the submission of the complete
documentation.
Annexure to Agreement between the
Government of the Republic of India and the
Government of the Federative Republic of
Brazil on Audio Visual Co-Productions (Rules
of procedure for applications for approval of
Co-Production status under this agreement)
3. The approval process under Article 3 of
this Agreement shall comprise of approval
prior to commencement of shooting of the
Audiovisual Work.
ANNEX
1. Applications for qualification of an
Audiovisual Work for Co-Production
benefits under this Agreement must be
made simultaneously to both Competent
Authorities at least 60 (sixty) days before
shooting begins.
4. Documentation submitted in support of an
application shall consist of the following
items, drafted in English in the case of
India and in Portuguese in the case of
Brazil:
2. The Competent Authority of one of the
Contracting Parties shall communicate
their decision to the other Competent
b. Documentary proof of having legally
acquired the copyright to produce and
exploit the Audiovisual Work.
a. The final script and synopsis.
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c. A copy of the Co-Production contract
signed by the Co-producers. The
contract shall include:
(i)
Authorities in either country
refuse to grant the benefits
applied for;
The title of the Co-Production;
(ii) The name of the original script writer
or that of the adaptor if it is drawn
from a literary source; necessary
permission for adapting the literary
work into a film from the author/
legal heirs shall be attached;
2.
Either one or the other
Contracting Party fails to
fulfil its commitments.
3.
The period when shooting is
to begin;
4.
A clause stating that the
majority Co-producer shall
take out an insurance
policy covering at least “all
production risks” and “all
original material production
risks”; and
5.
A clause providing for the
sharing of the ownership
of copyright on a basis that
it is proportionate to the
respective contributions of
the Co-producers.
(iii) The name of the director (a
substitution clause is permitted to
provide for his/her replacement if
necessary);
(iv) The budget, identifying the
expenses to be incurred by each
Co-producer;
(v) The financing plan;
(vi) A clause establishing the sharing
of revenues, markets, media or a
combination of these;
(vii) A clause detailing the respective
shares of the Co-producers in any
over expenditure; the minority Coproducer’s share may be limited
to a lower percentage or to a
fixed amount, provided that the
minimum proportion permitted
under Article 4 of the Agreement
is respected;
(viii) A clause recognizing that
admission to benefits under this
Agreement does not constitute a
commitment that governmental
authorities in India will grant a
license to permit public exhibition
of the Audiovisual Work;
(ix) A clause prescribing the measures
to be taken where:
1.
After full consideration of
the case, the Competent
Cannes Film Market
5. The distribution contract, if it has already
been signed, or a draft if it has yet to be
concluded.
6. A list of the creative and technical
personnel indicating their nationalities.
7. The production schedule.
8. Final shooting script.
9. The Competent Authorities can demand
any further documents and all other
additional information deemed necessary.
10. Amendments, including the replacement of
a Co-producer, may be made in the original
contract, but they must be submitted for
approval by the Competent Authorities
before the Audiovisual Co-Production is
finished. The replacement of a Co-producer
may be allowed only in exceptional
cases and for reasons satisfactory to the
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CANADA
AUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN
THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE
GOVERNMENT OF CANADA.
The Government of the Republic of India and
the Government of Canada (the “parties”),
Recognizing that quality audiovisual co-productions contribute to the vitality of the audiovisual industries of the Parties and to the
development of their economic and cultural
exchanges;
ARTICLE 1 - DEFINITIONS
For the purposes of this Agreement:
(a) “administrative authority” means, for each
Party, the authority which administers the
application of this Agreement;
Appreciating that cultural diversity is nurtured by ongoing exchanges and interaction
between cultures and that it is strengthened
by the free flow of ideas;
(b) “audiovisual” means film, television, and
video projects made on any production
support, existing or future, for any distribution platform intended for viewing;
Recalling that, in pursuit of international cooperation, the UNESCO Convention on the
Protection and Promotion of Diversity of Cultural Expressions, done at Paris on October 20,
2005, encourages the conclusion of co-production agreements as a means to promote
international cooperation;
(c) “Canadian elements” are expenditures
made in Canada by the Canadian producer
or expenditures on Canadian creative and
technical personnel made in other States
by the Canadian producer in the course of
the production of a work;
Agreeing that these exchanges will enhance
relations between the Parties;
Recognizing that these objectives may be
achieved by granting domestic benefits to
qualified audiovisual co-productions;
(d) “competent authority” means, for each
Party, the delegated authority responsible
for the negotiation and implementation of
this Agreement;
(e) “distribution or broadcasting” means the
public exhibition or showing of an audiovisual work;
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(f) “Indian elements” are expenditures made
in India by the Indian producer or expenditures on Indian creative and technical personnel made in other States by the Indian
producer in the course of the production of
a work;
(g) “national” means a natural or legal person
having a legal relationship which connects
that person to a State and which confers
to that person, under the law of that State,
the right to benefit from the application of
the relevant provisions of this Agreement;
(h) “non-party” means a State which does not
have a coproduction Agreement or memorandum of Understanding with either Party;
(i) “producer” means a national managing the
production of a work;
(j) “third-country” means a State which has
a co-production Agreement or memorandum of Understanding with at least one of
the Parties;
(k) “work” means an eligible audiovisual work
to be subsequently recognized as an official co-production by each Party and includes every version thereof.
ARTICLE 2 - GENERAL CONDITIONS
1. A Party shall treat every work as its own
production, and to that extent, make it
eligible for the same benefits as those
available to its audiovisual industries.
2. Each Party shall grant the benefits
referred to in paragraph 1 to the
producers of a work who are its own
nationals.
3. Each Party shall strive to achieve overall
balance on the financing of works coproduced over a period of five years.
ARTICLE 3 - PARTICIPATING
PRODUCERS
1. A work shall be jointly produced by
producers of both Parties.
2. In addition to producers of Canada and
India, third-country producers may also
participate in a work.
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ARTICLE 4 - PROPORTIONALITY
1. The share of work expenditures spent
on Canadian elements and on Indian
elements respectively shall be in
reasonable proportion to the producers’
respective financial contribution.
2. The administrative authorities may, by
mutual consent in writing, recommend
exemptions from paragraph 1, notably for
storyline and creative purposes.
ARTICLE 5 - NATIONALITY OF
PARTICIPANTS
1. Subject to paragraph 2, a participant in
a work shall be a national of one of the
Parties.
2. The administrative authorities may
by mutual consent in writing grant
exemptions from paragraph 1 notably to
allow third-country nationals or nonparty nationals to participate in a work for
storyline, creative, or production purposes.
ARTICLE 6 - TEMPORARY ENTRY AND
RESIDENCE
Subject to the Parties’ respective legislation
and regulations, the Parties shall facilitate the
following:
(a) The temporary entry into and residence in
their respective territories of the creative
and technical personnel and the performers engaged by the producer of the other
Party for the purposes of the work;
(b) The temporary entry and re-export of any
equipment necessary for the purposes of
the work.
ARTICLE 7 - COPYRIGHT
The Parties shall ensure that the sharing of
copyright and revenues between the producers is, in principle, proportional to their respective financial contribution in accordance with
the respective requirements of the Parties.
ARTICLE 8 - DISTRIBUTION
1. Each Party shall verify that its producer
demonstrates the existence of a
distribution or broadcasting commitment
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in each other’s territory and, if thirdcountry producers are involved in the
work, in the territory of each of the third
country producers.
domes tic procedures necessary for the
entry into force have been completed by
the Parties.
ARTICLE 13 - TRANSITIONAL
PROVISION
2. The administrative authorities may by
mutual consent in writing, accept an
alternative distribution commitment
in lieu of the commitment described in
paragraph 1, provided that the producers
of a work demonstrate that this
alternative commitment exists.
A Party shall not discontinue benefits conferred on a work pursuant to this Agreement
for a period of two years following the termination of this Agreement.
ARTICLE 14 - SETTLEMENT OF
DISPUTES
ARTICLE 9 - MATERIAL CHANGES
Each Party shall ensure that its producer
promptly advises its administrative authority
of any material change to a work that may
affect its qualification for benefits under this
Agreement.
ARTICLE 15 - ENTRY INTO FORCE
ARTICLE 10 - COMMUNICATION
Each competent authority shall promptly advise the other of any amendment or judicial
interpretation of domestic law that may affect
benefits available under this Agreement.
ARTICLE 11 - STATUS OF ANNEX
1. The Annex to this Agreement is for
administrative purposes and is not part of
this Agreement.
2. The Annex may be modified by the
competent authorities by mutual consent
in writing, provided that the modifications
do not conflict with this Agreement.
ARTICLE 12 - MEETINGS AND
AMENDMENTS
1. Meetings will be held as needed between
representatives of the competent
authority of each Party, to discuss and
review the terms of this Agreement.
2. The Parties may amend this Agreement
by mutual consent in writing. The
amendments shall enter into force on the
date of the last written notification that
Any dispute arising out of the interpretation,
application or implementation of any provisions of this Agreement shall be settled consensually through consultation and negotiation between the Parties.
1. Each party shall notify the other Party in
writing of the completion of its internal
procedures required for the entry into
force of this Agreement. This Agreement
shall enter into force on the first day
of the first month following the later
notification.
2. This Agreement shall remain in force for a
period of five years from the date of entry
into force.
3. Subject to paragraph 4, this Agreement
shall renew automatically at the end of
five years from the date of entry into force
and at the end of every subsequent fiveyear period.
4. A Party may give notice to the other Party
in writing of its intention to terminate this
Agreement. This notice shall be given no
less than six months before the end of the
fifth year following the entry into force,
or before the end of any subsequent fiveyear period, in which case this Agreement
shall terminate at the end of that fiveyear period.
IN WITNESS WHEREOF, the undersigned, being duly authorized by their respective governments, have signed this Agreement.
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Done....................on the.............day of .......... 2014.... ........., in duplicate, in the English, French and
Hindi languages, each version being equally authentic.
For and on Behalf of the
Government of the republic of India
Canada
ANNEX
This Annex is for administrative purposes
and is not part of the Audiovisual Co-production Agreement between the Government of
the Republic of India and the Government of
Canada (the “Agreement”).
1. DEFINITIONS
Unless otherwise specified, the definitions of
the Agreement apply.
For the purposes of this Annex:
“dubbing” means the production of any version
in a language other than the original language
or languages of the work.
2. FINANCIAL CONTRIBUTION BY
PRODUCERS
(a) The financial contribution of the producers
of each Party will be decided by arrangement between the producers, and will be
between 20 per cent and 80 per cent of the
total production budget of the work.
(b) The third-country producer(s) involved in
a multi-party work will contribute a minimum of 10 percent of the total production
budget of that work.
3. CREATIVE AND TECHNICAL
CONTRIBUTION BY PRODUCERS
(a) The creative and technical contribution of
the producers will be in reasonable proportion to their respective financial contribution, and in accordance with the requirements of the respective Parties.
(b) The creative and technical contribution of
each thirdcountry producer involved in the
work will be in reasonable proportion to
their respective financial contribution.
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(c) The Parties, through their administrative
may by mutual consent in writing exemptions from paragraphs (a) and (b), storyline
and creative purposes. authorities, recommend notably for
4. LOCATION AND TECHNICAL
SERVICES
(a) Subject to paragraph (b), a work will be
shot in the territory of either Party and
may also be shot in the territory of a thirdcountry producer.
(b) The administrative authorities may, by mutual consent in writing, allow a work to be
shot in the territory of a third country or a
non-country for a storyline and/or creative
reasons.
(c) All or part of the technical services of a
work will be provided in the territory of
either Party or in the territory of a thirdcountry producer.
5. DUBBING
(a) Subject to paragraph (b), all dubbing services will be performed in the territory of
one of the Parties or of a third-country producer.
(b) Where a producer can reasonably demonstrate that the necessary capacity does not
exist in the territory of either Party or of a
third-country producer, the administrative
authorities may by mutual consent allow
the dubbing to be performed elsewhere.
6. MODIFICATION
The provisions of this Annex may be modified
by mutual consent in writing of the competent
authorities provided that these modifications
do not conflict with the Agreement.
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CHINA
AUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN
THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE
PEOPLE’S REPUBLIC OF CHINA.
The MINISTRY OF INFORMATION AND
BROADCASTING OF THE REPUBLIC OF INDIA and the STATE ADMINISTRATION OF
PRESS, PUBLICATION, RADIO, FILM AND
TELEVISION OF THE PEOPLE’S REPUBLIC
OF CHINA hereinafter referred to as the
“Contracting Parties”,
CONSIDERING that it is desirable to establish a framework for the development of their
audio visual co-productions;
CONSCIOUS that quality co-productions
can contribute to the further expansion of the
audio visual production and distribution of
both countries as well as to the development
of their cultural and economic exchanges;
documentary, cine-film or animation film,
irrespective of length, produced in any
format, and distributed in theatres, on
televisions, video cassettes or any other
forms of projection.
1.2 “Co-production” is a production co-produced after joint investment by producers
from India and China.
1.3 “Competent Authority” responsible for
implementation of the Agreement shall
be a. On behalf of Republic of India,
the Ministry of Information and
Broadcasting
b. On behalf of Government of the
People’s Republic of China, the State
Administration of Press, Publication,
Radio, Film and Television.
CONVINCED that these exchanges will
contribute to the enhancement of relations
between the two countries in the audio visual
field;
ARTICLE 1 Definition
c. Co-production projects falling within
the scope of this Agreement shall
be subject to the approval of the
Competent Authority.
For the purpose of this Agreement:
1.1 “Co- Production” refers to feature film,
d. Each co production undertaken under
this Agreement shall be in accordance
HAVE AGREED AS FOLLOWS:
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in writing to make appropriate changes, in
percentage, as may be deemed fit.
with the laws and regulations in force
in the Contracting Parties.
1.4 “Co-producer” shall be:
a. In relation to India:
(i)
ARTICLE 4 Participants
4.1 The producers, writers, directors, technicians, actors and other personnel involved
in co-productions shall be citizens of
either of the countries or permanent residents of either party.
Citizens of India;
(ii) Entities which are established or
incorporated in India
b. In relation to China:
(i)
4.2 In the event of exceptional need of audio
visual co-production, persons other than
nationals or permanent residents as
stated hereinabove are permissible to
be engaged without losing the character
of co-production in case advance written permission from both the countries’
authorities is obtained after explaining the
reasons of inclusion of such person.
Citizens and legal persons of
China;
(ii) Persons who are not citizens
of China but are permanent
residents of
China;
(iii) Entities which are established or
incorporated in China.
1.5 “Nationals” mean persons of either
Contracting Party deriving the status as
nationals of that Contracting Party from
its laws and regulations in force.
ARTICLE 5 Filming and Production
Outside the Contracting Countries
ARTICLE 2 Recognition as a National Film
and Entitlement to Benefits
2.1 A co-production film shall be fully entitled
to all the benefits which are or may be
accorded to national films by each of the
Parties under their respective national
laws and regulations.
2.2 These films shall be entitled to claim all
state support and benefits available to the
film and video industries and the privileges granted by the provisions in force in
the respective countries
ARTICLE 3 Contribution
3.1 Any benefits under this Agreement shall
be available for audio visual co-production
only when investment or finance, material and management including creative
and other inputs not below 20% comes
from co-producer of one country; provided
always that specific percentage contribution will be decided amongst producers
themselves.
3.2 Notwithstanding anything stated in above
paragraph, the competent authorities of
both sides may at any time decide jointly
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5.1 Live action shooting of a co-produced film,
including animation works such as storyboards, layout, key animation, in between
and voice recording must, in principle, be
carried out alternately in India or in China.
5.2 Location shooting of a co-produced film,
exterior or interior, in a country not participating in the co-production may, however,
be authorized by the competent authorities of both countries if the script or the
action so requires and if technicians from
India and China take part in the shooting.
5.3 The processing and post-production of coproductions shall be done in either India
or China, unless it is technically impossible to do so in either of the countries,
in which case the processing and postproduction in a country not participating
in the co-production may be authorized by
the competent authorities of both countries.
ARTICLE 6 Film Languages
6.1 The original soundtrack of each audio visual co-production shall be made in Hindi,
or any other Indian language or dialect, or
in Chinese or English, or in any combina-
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tion of those permitted languages.
ARTICLE 10 Balanced Contribution
6.2 Dialogue in other languages may be
included in the audio visual co-production,
as the script requires.
10.1 A general balance should be maintained
with regard to both the artistic and technical personnel, including the cast.
6.3 The dubbing or subtitling into one of the
permitted languages of India or into the
language of China shall be carried out
in India, or in China; and that in English
language be discussed and decided by the
co-producers.
10.2 The Joint Commission, established in
terms of this Agreement, shall carry out
a review to see whether this balance has
been maintained and, if this is not the
case, shall take measures which it considers necessary in order to re-establish
such a balance.
ARTICLE 7 Film Negatives
ARTICLE 11 Joint Commission
Two negatives, or at least one negative and
one duplicate negative, shall be made of all
co-produced films. Each co-producer shall
be entitled to make a further duplicate or
prints there from. Each co-producer shall
also be entitled to use the original negative in
accordance with the conditions agreed upon
between the co-producers themselves. The
storage of the original negative shall be as
mutually decided by the co-producers.
11.1 The Joint Commission shall comprise
representatives from Governments of
both countries and from the film industry of both Contracting Parties.
11.2 The role of the Joint Commission
shall be to supervise and review the
implementation and operation of this
Agreement and to make any proposals
considered necessary to improve the
implementation of the Agreement.
ARTICLE 8 Temporary Entry into the
Country
11.3 The Joint Commission shall be convened at the request of either of the
Contracting Parties within six months of
such a request.
Both Contracting Parties in accordance with
their domestic laws shall facilitate:
(a) entry and short stay in either of the two
countries for producers, writers, directors,
technicians, actors and other personnel,
(b) importing of equipment, props, film stocks
and the like.
ARTICLE 9 Property and Revenues
9.1 Both Contracting Parties jointly own the
copyrights of each co-produced film and
at the same time it is proportionate to the
respective contributions for co-producers
to share market revenues.
9.2 The sharing of revenues by the co-producers should, in principle, be proportional
to their respective contributions and this
should be negotiated and agreed, and
specified in the agreement between the
co-producers themselves. The respective
contribution of each co-producer may be
decided mutually on the basis of principles elaborated in Article 3.
ARTICLE 12 Minority and Majority
Contribution in the Case of Multilateral
Audio visual Co-productions
Subject to the specific conditions and limits
multilateral co-productions, the minority
contribution may not be less than 10% and
the majority contribution may not exceed 70%
of the total cost of the film.
ARTICLE 13 Public Exhibition
13.1 Nothing in this Agreement binds the
competent authorities of the Contracting
Parties to permit the public exhibition of
a film, which has been granted Approved
Co-production status.
13.2 Both co-producers shall shoot the film in accordance with the approved script and submit it to respective competent authorities for
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examination afterwards. If there is no any
essential difference between the completed
film and the approved script, the film could
be exhibited in India, China or a third country,
in accordance with the current laws, rules,
regulations and guidelines, governing the
same in the respective countries.
ARTICLE 14 Export to a Third Country
When a co-produced film is exported to a
country, which has quota limitations:
a) In principle, the co-produced film shall be
included in the quota of the country of the
majority investment;
b) If both co-producers have made an
equal contribution, co-producers of both
sides shall decide the quota in question
through friendly consultation, so that the
co-produced film can be included in the
quota of the country that can make better
arrangements for the export of the film.
c) If difficulties still exist, the co-produced
film shall be included in the quota of the
country of which the director is a national.
ARTICLE 15 Credits
15.1 A co-produced film shall when shown,
be identified as a “India-China Audio
-visual Co-production” or “China-India
Audio-visual Co-production” according
to the origin of the majority co-producer
or in accordance with an agreement
between co-producers.
15.2 Such identification shall appear in the
credits, in all commercial advertising
and promotional materials and whenever this co-production is shown.
ARTICLE 16 Entry in International
Film Festivals
16.1 In the event of presentation at international film festival, unless the co-producers agree otherwise, a co-production
shall be entered by the country of the
majority co-producer or, in the event of
equal financial participation of the coproducers, by the country of which the
director is a national.
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16.2 Either of the co-producers may make
the co-produced film access to international film festivals by notifying the
other co-producer in advance.
ARTICLE 17 Settlement of Disputes
Any dispute between the Contracting Parties
arising out of the interpretation and implementation or application of this Agreement
shall be settled consensually through
consultation and negotiation and shall not
be referred for resolution to any national or
International tribunal or a third party.
Article 18 Amendment
This Agreement may be amended at any
time by the mutual consent of the Contracting Parties through the exchange of notes
between the Contracting Parties through the
diplomatic channel.
ARTICLE 19 Entry into Force, Duration and
Termination of the Agreement
19.1 This Agreement shall come into force
when each Party has informed the other
that its internal ratification procedures
have been completed. This Agreement
shall come into effect on the later date
of these two notifications.
19.2 This Agreement shall be valid for a
period of three years from the date of its
entry into force; a tacit renewal of this
Agreement for the periods shall take
place unless one or the other Party gives
written notice of termination six months
before the expiry date.
19.3 Co-productions which have been recognized by the competent authorities
of the Contracting Parties and which
are in progress at the time of notice
of termination of this Agreement by
either Contracting Party shall continue
to benefit fully until completion from
the provisions of this Agreement. After
expiry or termination of this Agreement,
its terms shall continue to apply to the
division of revenues from completed coproductions.
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In witness whereof the undersigned, duly authorised by their respective Governments, have
signed this Agreement.
Done in at New Delhi on September 18 of 2014 in two originals each in Chinese, Hindi, and English language, three versions being equally authentic. In case of any divergence in interpretation, the English text shall prevail.
FOR THE MINISTRY OF INFORMATION
AND BROADCASTING OF
THE REPUBLIC OF INDIA
FOR THE STATE ADMINISTRATION OF
PRESS, PUBLICATION, RADIO, FILM AND
TELEVISION OF THE PEOPLE’S REPUBLIC
OF CHINA
SIGNATURE
SIGNATURE
3. The following documents shall be
submitted:
3.1 The final script and synopsis;
3.2 Documentary proof of having legally
acquired the rights to produce and
exploit the co-production and that the
copyright for the audio-visual co-production has been legally acquired;
3.3 A copy of the co-production contract
signed by the two co-producers.
Annex
Annex to Agreement On Audio Visual Coproduction Between the State Administration
of Press, Publication, Radio, Film and Television of the People’s Republic of China and the
Ministry of Information and Broadcasting of
the Republic of India (Rules of Procedure for
Applications for Approval of Co-production
Status Under This Agreement)
(This Annex is for administrative purposes
and is not part of the Audio -visual Co Production Agreement between the the State
Administration of Press, Publication, Radio,
Film and Television of the People’s Republic
of China and the Ministry of Information and
Broadcasting of the Republic of India.)
The contract shall include:
a. The title of the audio-visual coproduction;
1. Applications for qualification of a film for
audio visual co-production benefits under
this Agreement for any co-production
must be made simultaneously to both
competent authorities at least sixty days
before shooting begins.
2. Co-Producers from both Contracting Parties shall submit the proposals to their
competent authorities respectively for
approval. Both competent authorities shall,
in accordance with relevant guidelines of
the respective country, communicate and
negotiate with each other within thirty
days of the submission of the complete
documentation about the approval of Coproduction status.
b. The name of the author of the script,
or that of the adaptor if it is drawn
from a literary source; necessary
permission for adapting the literary
work into a film from the author/legal
heirs may be attached;
c. The name of the director;
d. The budget;
e. The financing plan;
f.
A clause establishing the sharing of
revenues and markets;
g. A clause detailing the respective
shares of the co-producers in any over
or under expenditure, which shares
shall in principle be proportional to
their respective contributions;
h. A clause stating that the competent
authorities have to be informed if the
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percentage of the contribution of a coproducer changes subsequent to the
approval of the competent authorities;
in any case, the contribution may not
be less than the minimum contribution
agreed in Article 3;
i)
j)
to the respective contributions for coproducers to share market revenues.
3.4 The distribution contract, where it has
already been signed;
3.5 A list of the creative and technical
personnel indicating their nationalities and, in the case of performers, the
roles they are to play;
A clause stating that audio visual
productions co-produced under this
Agreement may be publicly exhibited
in either country in accordance with
prescribed rules/procedures;
3.6 The production schedule;
3.7 The detailed budget identifying the
expenses to be incurred by each coproducer in each country; and
A clause recognising that admission
to benefits under this Agreement
does not constitute a commitment
that competent authorities in either
country will grant a license to permit
public exhibition of the audio visual
co-production;
3.8 All contracts and other relevant financial documentation for all participants
in the financial structure.
4. The competent authorities can demand
any further documents and all other additional information deemed necessary, as
to consider the co-production application.
k) A clause prescribing the measures to
be taken where:
5. In principle, the final shooting script (including the dialogue) should be submitted
together with all other necessary documents to the competent authorities prior
to the commencement of shooting for final
approval.
(i) after full consideration of the
case, the competent authorities in
either country refuse to grant the
benefits applied for;
(ii) the competent authorities prohibit
the exhibition of the audio visual
co-production in either country or
its export to a third country;
(iii) either one or the other Party fails
to fulfill its commitments;
l) the period when shooting is to begin;
m) a clause stipulating that the majority
co-producer shall take out an insurance policy as mutually decided by the
co-producers; and
n) a clause providing for the joint ownership of copyright for co-producers and
at the same time it is proportionate
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6. Amendments, including the replacement
of a co-producer, may be made in the original contract, but they must be submitted
for approval by the competent authorities
before the audio visual co-production is
finished. The replacement of a co-producer
may be allowed only in exceptional cases
and for reasons satisfactory to both the
competent authorities.
7. The competent authorities will keep each
other informed of their respective decisions.
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FRANCE
AGREEMENT ON FILM CO-PRODUCTION BETWEEN THE
GOVERNMENT OF THE REPUBLIC OF INDIA AND THE
GOVERNMENT OF THE FRENCH REPUBLIC.
The Government of the Republic of India
and the Government of the French Republic
(hereinafter referred to as ‘the Parties’),
CONSIDERING the Convention on the
Protection and Promotion of the Diversity of
Cultural Expressions and its ratification by
India on 15th December, 2006 and by France
on 18th December, 2006,
DESIRING to strengthen the relationship
between India and France concerning film
production,
HAVE AGREED AS FOLLOWS:
Article 1
For the purpose of this Agreement:
a. ‘Film’ means feature length film
including animation and documentary
film which complies with the laws and
rules in force in each country and which
is intended to be first shown in cinema
theatres. Both the Parties would under
this Agreement also encourage the
development of Co-Production projects
for short films for which there is an
expectation for public exhibition, with or
without access to Public support;
b. “Competent Authority” means:
For India, the Ministry for Information and
Broadcasting;
For France, the Centre national du cinema
et de l’image animée (CNC).
The Parties shall inform each other if the
competent authorities are replaced by others.
Article 2
1. Subject to the approval of both competent
authorities, a film Co-produced in
compliance with this Agreement shall
be deemed to be a national film in the
territory of each Party and shall thus be
fully entitled to all the benefits which are
granted under the laws and regulations in
force in the territory of each Party.
2. The competent authority of each Party
shall provide to the competent authority
of the other Party a list of provisions
concerning these benefits.
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If the provisions concerning these benefits
are changed in any way by either Party, the
competent authority of that Party shall
inform the competent authority of the
other Party of the details of such change.
3. The above mentioned benefits shall accrue
solely to the producer of the Party which
grants them.
4. In order to be approved as a Co-Production
under this Agreement, the film must:
- in France, apply for Co-Production
clearance before the shooting starts,
and receive final approval from the
competent authority no later than
4 (four) months after its release in
France;
- in India, apply for Co-Production
clearance before the shooting starts,
and receive final approval from the
competent authority no later than 4
(four) months after its completion in
India.
The application for such approval shall comply
with the procedures set forth by each Party
and satisfy the minimum requirements set
forth in Annexure to this Agreement.
The competent authorities of the Parties
shall exchange all information concerning the
approval, rejection, change or withdrawal of
any application received for approval for CoProduction.
Before an application for approval is rejected,
the competent authorities of the Parties shall
consult with each other.
Once the competent authorities of the Parties
have approved the Co-Production of a film,
such approval may not be later revoked
without the consent of competent authorities
of the Parties.
The approval of Co-Production by the
competent authorities of the Parties shall
not be related in any way to the film rating
systems of either Party.
responsible or liable for the credentials of
either of the Co-producers.
2. Each of the producers must satisfy the
following additional conditions:
a. The president(s), director(s) or
manager(s), must be citizen of India,
France or the European Union. Persons
who do not have the citizenship of the
aforesaid countries but can demonstrate
their domicile or permanent residence
therein will be deemed to be citizens of
India or France within the meaning of
this subparagraph.
b. The producer must not be controlled
legally or effectively by one or more
citizens of any country other than
India, France or the EU countries.
3. Artistic and technical participants in the
production of the film shall be citizens
of India, France or the EU countries.
Participants who do not have the
citizenship of the aforesaid countries
but can demonstrate their domicile or
permanent residence therein will be
deemed to be citizens of India or France
within the meaning of this subparagraph.
Actors who do not have the aforesaid
citizenship may participate in a CoProduction in the event that the competent
authorities of the Parties so approve, after
consideration of the production needs of
the film.
Article 4
Studio filming, location shooting (exterior or
interior) and laboratory work shall in principle
be carried out in the territory of either Party.
Outdoor shooting in third countries may
be permitted, subject to the consent of the
competent authorities of the Parties, provided
that it is necessary for the scenario or the
acting.
Article 3
Article 5
1. In order to qualify for the approval for
Co-Production, the producer shall have
the necessary capabilities to produce
the concerned film. The Parties are not
1. The proportion of the respective financial
contributions of the Co-producers of each
party to the production of the film shall
be decided by arrangement between the
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Co-producers, and shall be between 20%
(twenty percent) to 80%(eighty percent)
of the final production costs of the film.
Notwithstanding the above, in exceptional
circumstances and subject to the approval
of the competent authorities of both
Parties, the 20% threshold may be reduced
to 10% taking into account the artistic
and technical collaborations of the Coproducer(s) of each party.
2. In principle, the technical and artistic
contribution of the Co-producer of each
Party shall be in the same proportion as
its financial contribution under normal
circumstances. However, in exceptional
cases where the approval of the
competent authorities of both parties has
been obtained, these percentages shall be
between 10% and 90 %.
Article 6
1. All producers shall be the joint owners of all
the tangible and intangible elements of the
film.
2. All materials shall be stored at a mutually
approved laboratory under the joint name
of the producers.
Article 7
For Co-Productions approved under this
Agreement, each Party shall facilitate, in
accordance with the domestic law in force in
its territory:
a. the entry and temporary residence
in its territory for the technical and
artistic personnel of the other Party
who participate in the production of
the film;
b. the import into, and export out of
its territory of technical equipment
and other material necessary to the
coproduction (including film, technical
equipment, costumes, accessories,
publicity material) by the Co-producer
of the other Party.
Article 8
1. Credit titles, trailers and all publicity
material of the film Co-Productions shall
state that the film is a Co-Production
between India and France.
a. For the purpose of entry into different
film festivals, the Co-producers shall
decide mutually.
b. The fact that a film is a Co-Production
shall also be mentioned when it is
submitted to a film festival.
Article 9
The sharing of revenues by the Co-producers
should, in principle, be in proportion to their
respective contributions and this should
be specified in the agreement itself. The
respective contribution of each Co-producer
may be decided mutually on the basis of
principles elaborated in Article 5.
Article 10
1. The competent authorities of both the
Parties acknowledge that a film Coproduced in compliance with this Agreement
may also be approved for Co-Production
with the producers of a third country with
which either Party has entered into a film
Co-Production treaty.
2. The conditions of approval of such film as a
Co-Production shall be determined in each
individual case by competent authorities.
Article 11
1. A joint commission (hereinafter referred
to as the ‘Joint Commission’) consisting
of representatives of the competent
authorities of both Parties and experts in
related fields shall be established for the
purpose of facilitating the implementation
of this Agreement or recommending
amendments thereto.
2. During the effective period of this
Agreement, the Joint Commission
shall be convened in principle every 2-3
years, alternately in India and France.
Extraordinary sessions of the Joint
Commission may also be convened at
the request of either Party in the event
of changes in the laws and regulations
applicable to the film industry or major
obstacles (in particular, imbalance in
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contribution) to the functioning of this
Agreement.
3. During its meeting sessions, the Joint
Commission shall review whether an
overall balance has been achieved in the
contributions from the two Parties and
shall implement the necessary measures
in order to correct any imbalance.
4. If an imbalance in contributions has
occurred and a session of the Joint
Commission is not convened expeditiously
in order to review the measures to restore
balance, both competent authorities shall
abide by the principle of reciprocity for
each film in approving Co-Productions.
Article 12
This Agreement may be amended by the
mutual consent of the Parties through the
exchange of notes between the Parties through
the diplomatic channel.
Article 13
Any dispute between the Parties arising out
of the interpretation or implementation of
this Agreement shall be settled consensually
through consultation and negotiation and shall
not be referred for resolution to any national or
international tribunal or a third party.
Article 14
1. This Agreement shall come into force after
each Party has informed the other Party
through official diplomatic channels that
its internal ratification procedures have
been completed.
2. This Agreement shall remain in force
initially for a period of 2 (two) years from the
date of its entry into force, and then shall
be automatically renewed for successive
periods of 2 years, unless written notice is
otherwise given by either Party to the other
Party at least 3 (three) months before the
expiry of the relevant period.
3. Unless both Parties decide otherwise,
the termination of this Agreement shall
not affect the rights and duties of the
Parties in relation to film Co-Productions
already approved in accordance with this
Agreement.
In witness whereof, the undersigned being duly authorized thereto, have signed this
Agreement.
Done at ____________, on this day of _____________, in two originals each in English, French and
Hindi, all versions being equally valid.
For Government of
Republic of INDIA
Cannes Film Market
FRENCH Republic
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Annexure to the Co-Production Agreement
Application Process
In order to implement the provisions of this
Agreement, the producers established in both
countries must, before shooting commences,
submit an application for coproduction status
and attach the documents listed below:
- a copy of the documentation concerning
the purchase of the copyright for the
commercial exploitation of the work ;
-
a synopsis including concrete information
on the theme and contents of the film ;
-
a list of the technical and artistic
contributions from each of the countries
involved ;
-
a work plan stating the periods and
locations of principal photography on
a weekly basis for studio and outdoor
shooting ;
-
a budget including a detailed financing
plan ;
-
a production schedule
-
the coproduction contract made between
the producers ;
-
and all the documentation that the
competent authorities require to conduct
the technical and financial evaluation of
the project.
The competent authority of the party with
smaller contribution shall decide on approval
after it has received the opinion of the
competent authority of the party with greater
financial contribution.
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GERMANY
OF INDIA AND THE GOVERNMENT OF THE FEDERAL
REPUBLIC OF GERMANY ON AUDIO VISUAL CO-PRODUCTION.
The Government of the Republic of India and
the Federal Republic of Germany (hereinafter
jointly referred to as the “Contracting
Parties”);
Considering that audio-visual Co-Productions
can significantly contribute to the development
of the film industry and to an intensification of
the cultural and economic exchange between
the two countries;
Resolved to stimulate cultural and economic
co-operation between the Republic of India
and the Federal Republic of Germany;
Desiring to create conditions for good relations
in the audio-visual area, particularly for the
Co-Production of films and TV and video
productions;
Mindful of the fact that the quality of CoProductions can help to expand the production
of TV and video productions of both countries;
Have agreed as follows
Cannes Film Market
ARTICLE 1
Definition of “audio-visual Co-Production”
For the purpose of this Agreement, an
“audiovisual Co-Production” is a project
irrespective of length, including animation
and documentary productions, produced in
any format, for exploitation in theatres, on
television, videocassette, videodisc, CD-ROM,
DVD or by any other form of distribution. New
forms of audiovisual production will be included
in this Agreement, through the exchange of
notes between the Contracting Parties.
ARTICLE 2
Competent authorities
1. The competent authorities responsible
for the implementation of this Agreement
shall be:
a. On behalf of the Republic of India , the
Ministry of Information and;
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b. Broadcasting on behalf of the Federal
Republic of Germany, the Federal
Office of Economics and Export Control
(BAFA).
of photography, art directors, actors and
sound technicians. The contribution of
each of these persons shall be evaluated
individually.
c. Co-Productions falling within the scope
of this Agreement shall be subject
to the approval of the competent
authorities.
4. As a rule, the contribution includes at least
one leading actor, one supporting actor
and/or one qualified technical staff person,
in addition to the one person as referred to
in paragraph (3) provided that two qualified
technical staff persons may substitute for
one leading actor.
2. The Contracting Parties shall inform each
other if the competent authorities are
replaced by others.
ARTICLE 3
Approval as national films
1. Films, which are produced within the
framework of this Agreement, shall be
deemed national films.
2. These films shall be entitled to claim all
state support benefits available to the film
and video industries and the privileges
granted by the provisions in force in the
respective countries.
3. ARTICLE 4
Conditions for obtaining approval of CoProduction status
1. Any benefits under this Agreement shall
be available for the Co-Production only
when investment of finance, material and
management including creative and other
inputs is not below 20 % (twenty percent)
of the total cost coming from the Coproducer of one country.
5. The Co-producers in either of the two
countries shall satisfy themselves about
each other’s capability, including their
professional knowledge, organizational
capability,
financial
backing
and
professional reputation. The Contracting
Parties are not responsible or liable for the
credentials of either of the Co-producers.
6. The company carrying out the CoProduction shall provide evidence that
the primary business of that company
is audiovisual (film, television and video)
production.
ARTICLE 5
Participants
1. The persons participating in the production
of a film shall fulfill the following
requirements:
2. The Co-producers of a film shall have their
principal office or a branch office in the
territory of one of the Contracting Parties.
None of the Co-producers shall be linked
by common management, ownership or
control.
3. Technical and artistic personnel are those
persons who, in accordance with the
domestic law in force in their own country,
are recognized as makers of audio-visual
productions, in particular screenwriters,
directors, composers, editors, directors
a. As regards the Republic of India , they
shall be –
(i)
Nationals/Citizens of the Republic
of India or
(i)
Permanent residents of India
b. As regards the Federal Republic of
Germany, they shall be
(i)
Germans within the meaning of
the Basic Law
(ii) Persons who are rooted in the
German culture and have their
legal residence in the territory of
the Federal Republic of Germany;
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(iii) Nationals of a member state of
the European Union; or
(iv) Nationals of another party to
the Agreement on the European
Economic Area (EEA) of 2 May
1992.
2. Participants in the Co-Production as
defined in sub paragraphs (a) and (b) must
at all times throughout the production
retain their national status, and may not
acquire or lose such status at any point
during the course of production activity.
Contracting State of the Agreement on
the European Economic Area respectively.
Any departure from this principle must be
approved by the competent authorities.
ARTICLE 7
Entry in International Festivals
enter Co-produced films in international
festivals.
3. Should the film so require, the participation
of professionals who are not citizens of
one of the Co-producing countries may
be permitted, but only in exceptional
circumstances, and subject to agreement
between the competent authorities of both
2. Films produced on the basis of equal
contributions shall be entered as a film
of the country of which the director is a
national, provided that the director is not
from a country contemplated in Article
5(1) (a) (iv), in which case the film shall be
submitted as a film of the country of which
the lead actor is a national, subject to the
agreement of the competent authorities of
both Contracting Parties.
ARTICLE 6
ARTICLE 8
Film Negatives and Languages
1. Two negatives, or at least one negative and
Co-produced films. Each Co-producer shall
themselves.
Minority and majority contribution in the case
of multilateral Co-Productions
Subject to the specific conditions and limits
laid down in laws and regulations in force in the
Contracting Parties, in the case of multilateral
Co-Productions, the minority contribution may
not be less than 10% (ten per cent) and the
majority contribution may not exceed 70%
(seventy per cent) of the total cost of the film.
2. The original soundtrack of each CoProduction film shall be made in Hindi or
any other Indian language or dialect or, in
English or German or in any combination
of those permitted languages. Dialogue in
other languages may be included in the
Co-Production, as the script requires.
Contributions of the producers
1. Notwithstanding the provisions of this
Agreement and in the interest of bilateral
Co-Productions, even those films, which
are produced in one of the two countries
and where the minority contribution is
limited to financial investment, may be
granted Co-Production status according
to the Co-Production agreement. In such
a case, the minority contribution may not
be less than 20% (twenty per cent) of the
final total cost of the film.
India or into German shall be carried out
in the Republic of India , or in the Federal
Republic of Germany or in another Member
State of the European Union or in another
Cannes Film Market
ARTICLE 9
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1. The granting of Co-Production status to
each individual production of this kind
shall be subject to the prior approval by
the competent authorities.
and operation of this Agreement and to
make any proposals considered necessary
to improve the implementation of the
Agreement.
2. The expenses incurred in the territories of
the Contracting Parties for the promotion of
such Co-Productions shall be compensated
within two years of the completion of the
project.
request of either of the Contracting Parties
within six months of such a request.
ARTICLE 10
Temporary Entry into the country
For approved Co-Productions, each Contracting
Party shall facilitate, in accordance with the
domestic law in force in its country:
personnel of the other Contracting Party;
Balanced contribution
1. A general balance should be maintained
with regard to both the artistic and
technical personnel, including the cast,
and with regard to the financial investment
and facilities (studios, laboratories, and
postproduction).
2. The Joint Commission, established in
terms of article 12, shall carry out a review
to see whether this balance has been
maintained and, if this is not the case,
shall take measures, which it considers
necessary in order to re-establish such a
balance.
ARTICLE 11
Credits
A Co-Production film and the promotional
materials associated with it shall include
either a credit title indicating that the film is
“an official German-Indian Co-Production”
or “an official Indian German Co-Production”
or where relevant a credit which reflects
the participation of the Federal Republic of
Germany, Republic of India and the country of
the third co producer.
ARTICLE 12
Joint Commission
1. The Joint Commission shall be composed
of representatives from Government
and from the film, television and video
industries of both Contracting Parties.
2. The role of the Joint Commission shall be
to supervise and review the implementation
ARTICLE 13
b. The import into and export from
Party.
ARTICLE 14
Amendment
This Agreement may be amended by the mutual
consent of the Contracting Parties through the
exchange of notes between the Contracting
Parties through the diplomatic channel.
ARTICLE 15
Settlement of Disputes
negotiation.
ARTICLE 16
Entry into Force, Duration and Termination
1. This Agreement shall enter into force on
the date of signature.
2. This Agreement including the annex, which
forms an integral part of this agreement,
shall remain in force for an unlimited
period of time, unless terminated in terms
of paragraph.
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this Agreement by giving six months’
diplomatic channel.
4. Termination of this Agreement shall have no
effect on the completion of Co-Productions
approved prior to its termination.
Done at Berlinon this day of 16th of February
2007 in two originals each in English, German
and Hindi, all three versions being authentic.
In case of any divergence of interpretation, the
English text shall prevail.
(Rules Of Procedure for applications for
approval of Co-Production status under this
agreement)
1. Applications for qualification of a film
for Co-Production benefits under this
Agreement for any Co-Production must be
made simultaneously to both competent
authorities at least thirty (30) days before
shooting begins.
2. The competent authority of both Parties
shall communicate their proposal to the
other competent authority within twenty
(20) days of the submission of the complete
documentation as described in paragraph
3 below.
items, drafted in German in the case of
Germany and in English in the case of
India :
3.1 The final script and synopsis; CoProductions under this Agreement
shall be shot in Germany or India,
as the case may be, in accordance
with the guidelines of the respective
country; The Parties shall inform each
other from time to time of relevant
guidelines and any changes thereto.
3.2 documentary proof of having legally
exploit the Co-Production and that the
Cannes Film Market
copyright for the Co-Production has
been legally acquired;
3.3 a copy of the Co-Production contract
signed by the two Co-producers.
The contract shall include
a. The title of the Co-Production;
b. The name of the author of the script, or
that of the adaptor if it is drawn from a
literary source; necessary permission
for adapting the literary work into a
film from the author/legal heirs may
be attached;
c. The name of the director (a substitution
clause is permitted to provide for his/
her replacement if necessary);
d. The budget;
e. The financing plan;
f.
A clause establishing the sharing
g. A clause detailing the respective
shares of the Co-producers in any over
or under expenditure, which shares
shall in principle be proportional to
their respective contributions, although
the minority Co-producer’s share in
any over expenditure may be limited
to a lower percentage or to a fixed
amount providing that the minimum
proportion permitted under Article 9 of
the Agreement is respected;
h. A clause stating that the competent
agreed in
i.
A clause stating that films Coproduced under this Agreement may
be publicly exhibited in either country
in accordance with prescribed rules/
procedures;
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j.
A clause recognizing that admission
to benefits under this Agreement does
not constitute a commitment that
governmental authorities in either
public exhibition of the Co-Production;
3.5 a list of the creative and technical
personnel indicating their nationalities
and, in the case of performers, the
3.6 the production schedule;
3.7 the detailed budget identifying the
country; and
k. A clause prescribing the measures to
be taken where:
l.
After full consideration of the case, the
competent authorities in either country
refuse to grant the benefits applied
for;
m. The competent authorities prohibit
the exhibition of the Co-Production in
either country or its export to a third
country;
n. Either one or the other Party fails to
fulfill its commitments;
o. The period when shooting is to begin;
p. A clause stipulating that the majority
Co-producer shall take out an
insurance policy covering at least
“all production risks” and “all original
material production risks”; and
q. A clause providing for the sharing of
the ownership of copyright on a basis
that it is proportionate to the respective
contributions of the Co-producers.
3.4 the distribution contract, where it has
already been signed, or a draft if it has
yet to be concluded;
3.8 all contracts and other relevant
financial documentation for all
participants in the financial structure.
4. The competent authorities can demand any
further documents and all other additional
information deemed necessary.
5. In principle, the final shooting script
(including the dialogue) should be
submitted to the competent authorities
prior to the commencement of shooting.
approval by the competent authorities
before the Co-Production is finished. The
replacement of a Co-producer may be
allowed only in exceptional cases and for
reasons satisfactory to both the competent
authorities.
7. The competent authorities will keep
each other informed of their respective
decisions.
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ITALY
AUDIO VISUAL CO-PRODUCTION AGREEMENT BETWEEN
THE REPUBLIC OF INDIA AND THE GOVERNMENT OF THE
ITALIAN REPUBLIC.
The Government of the Republic of india and
the Government of Italian Republic, hereinafter
referred to as the parties,
CONSIDERING that it is desirable to establish
a framework for the development of their
audiovisual relations and particularly for film
television and video Co-Productions;
CONSCIOUS that quality Co-Productions can
contribute to the further expansion of the film,
television and video production and distribution
industries of both countries as well as to the
development of their cultural and economic
exchanges;
between the two countries;
ARTICLE 1
In this Agreement, unless the Agreement
otherwise requires:
(i) A Co-Production is a film including
feature films, documentaries,
science films, animation films
and commercials, irrespective of
length, either on film, videotape
Cannes Film Market
or videodisc, which can be shown
in cinemas, on television or on
video recorders jointly’ invested
in and produced by producers
from the two countries and made
in accordance with the terms of
recognition given by the competent
authorities of India and Italy
under this Agreement. New forms
of audio-visual production and
distribution shall be included in the
present Agreement by exchange
of notes between the Parties.
(ii) Co-Production
projects
undertaken under the present
Agreement must be recognized by
the following authorities, referred
to hereinafter as the competent
authorities:
a. In Italy- by the Ministry of Cultural
Properties and Activities, Department
of Entertainment and Sport, General
Management of Cinema; and
b. In India by the Ministry of Information
and Broadcasting.
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(iii) Co production produced under
the terms of this Agreement
shall be taken in either of the two
countries as National Production
with every benefit available as
National Production but will abide
by applicable national law for
distribution and production. These
benefits, however, accrue to the
producer from the country, which
grants them.
ARTICLE 2
(i) The co- producers in either
of the two countries shall
satisfy themselves about each
other’s
capability,
including
their professional knowledge,
organizational capability, financial
backing
and
professional
reputation.
(ii) The Government of India and Italy
shall in no way be responsible or
liable with regard to satisfaction
of either of the co producers.
of the obligations created by
European Union Italy as a
member.
(ii) In the event of dire need of CoProduction, persons other than
citizen or permanent resident as
stated hereinabove are permissible
to be engaged without losing the
character of Co-Production in case
advance written permission from
both the countries is obtained after
explaining the reasons of inclusion
of such person.
ARTICLE 5
(i)
(ii) Location
shooting,
exterior
or interior, in a country not
participating in the Co-Production
however,
is
acceptable
at
discretion if the script or the action
so requires and if technicians from
Italy and India take part in the
shooting.
ARTICLE 3
(i) Any benefits under this Agreement
shall be available for co production
only when investment of finance,
material and management including
creative and other inputs not below
20% of the total cost comes from
Co-producer of one country provided
always that specific percentage
contribution will be decided amongst
producers themselves.
(ii) Notwithstanding anything stated
in above paragraph, the two parties
may at any time decide jointly
in writing to make appropriate
changes, in percentage, as maybe
deemed fit.
(iii) The laboratory work shall be done
in either Italy or India, unless it is
technically impossible to do so, in
which case the laboratory work in
a country not participating in the
Co-Production can be permitted
by the competent authorities of
both countries.
ARTICLE 6
ARTICLE 4
(i)
The producers of a Co-Production
shall be citizens or permanent
resident either of Italy or India
subject to any sort of compliance
Live action shooting and animation
works such as storyboards, layout,
key animation, in between and
voice recording must, in principle,
be carried out alternatively in Italy
or in India.
(i)
The Co-Production shall have the
original soundtracks in English or
Italian or in other Indian language
or dialect, which can further be
dubbed in any of these languages.
(ii) In the event, if script so desires,
any other language can be used for
stray dialogues with permission
from authorities
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(iii) It will be necessary that the
dubbing or sub-titling of the
Co-Production will be done or
performed either in India or Italy.
Dubbing or sub-titling in Indian
languages should be performed
in India and dubbing or sub-titling
in Italian in Italy and dubbing
or sub-titling in English could
be performed in Italy or India
depending upon the agreement
between Co-producers.
proportional to their respective
contributions and be specifies
in the agreement between the
co producers. The respective
contribution of each Co-producer
may be decided mutually on the
basis of principles elaborated in
Article 3.
ARTICLE 10
(i)
ARTICLE 7
(i)
A Co-produced film shall have
two negatives or one negative and
one dupe negative, or as agreed
between the two Co-producers,
with two international sound
tracks for making copies. Each
Co-producer shall own one good
quality print, one dupe positive
and one international sound track
and have the right to make copies.
Moreover with the approval of the
Co-producers either Co-producer
may use the footage from the
above-mentioned material for
other purposes. Furthermore,
each Co-producer shall have
access to the original production
material in accordance with the
conditions agreed upon between
the Co-producers.
(ii) Failure to meet this requirement
shall entail the loss of benefit of the
Co-Production. This requirement
will invariably be reflected in the
contract drawn up between the
Co-producers to enable projects
to be recognized under this
Agreement.
ARTICLE 11
(i)
ARTICLE 8
(i)
Both Italy and India will facilitate
entry and short stay in either of the
two countries for directors, actors,
producers, writers, technicians and
other personnel prescribed in each
co production contract as per the
applicable laws and importing of
equipment shall also be in accordance
with the applicable laws.
The sharing of revenues by he
co-produces shall, in principle, be
Cannes Film Market
Approval of a proposal for the
Co-Production of a film by the
competent authorities of both
countries is in no way binding upon
them in respect of the granting of
permission to show the film thus
produced.
ARTICLE 12
ARTICLE 9
(i)
The minority investment Coproducer shall pay any balance
outstanding on his contribution
to the majority investment
Co-producer within sixty (60)
days following delivery of all
the materials required for the
production of the version of the
film in the language of the minority
country. The majority investment
Co-producer will have the same
obligations towards the minority
investment Co-producer.
(i)
When a Co-produced film is
exported to a country, which has
quota limitations:
a. in principle, the Co-produced film shall
be included in the quota of the country
of the majority investment;
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05-05-2015 17:41:52
(ii) Prizes, grants, incentives and
other benefits awarded to the
cinematographic or audiovisual
works may be shared between
the Co-producers, in accordance
with what has been established in
the Co-Production contract and in
conformity with applicable laws in
force.
b. if both Co-producers have made an
equal investment, Co-producers of
both sides shall decided the quota in
question through mutual consultation,
so that the Co-produced film can be
included in the quota of the country
that can make better arrangements for
the export of the film;
c. if difficulties still exist, the co produced
film shall be included in the quota of the
country of which the director is a national
(ii) Notwithstanding the above, in the
event that one of the Co-producing
countries enjoys unrestricted
entry of its films into a country
that has quota regulations, a
Co-Production
under
this
Agreement shall be entitled as
any other national production of
that country to unrestricted entry
into the importing country if that
country so agrees.
(iii) All prizes which are not in cash
form, such as honorable distinctions
or trophies awarded by third
countries, for cinematographic
and audiovisual works produced
according to the norms established
by this agreement, shall be kept in
trust by the majority Co-producer
or according to terms established
in the Co-Production contract/
agreement.
ARTICLE 15
(i)
ARTICLE 13
(i)
A Co-Production shall when shown,
be identified as an Italy-India
Co- Production; or India-Italy CoProduction according to the origin
of the majority Co-producer or in
accordance with an agreement
between Co-producers.
ARTICLE 16
(ii) Such identification shall appear
in the credits, in all commercial
advertising
and
promotional
material and whenever the CoProduction is shown.
ARTICLE 14
(i)
In the event of presentation at
international film festivals, and
unless the Co-producers agree
otherwise, a Co-Production shall
be entered by the country of the
majority investment Co-producer
or, in the event of equal financial
participation of the Co-producers,
by the country of which the
The competent authorities of both
countries shall jointly establish,
through a subsequent exchange
of notes the rules of procedure
for Co-Productions, taking into
account the laws and regulations
in force in Italy and in India.
(i)
No restrictions shall be placed
on the import, distribution and
exhibition of Indian film, television
and video productions in Italy
or that of Italian film, television
and video productions in India
other than those contained in
the legislation and regulations in
force in each of the two countries,
including in case of Italy the
obligation deriving from the norms
of the European Union insofar
as the free circulation of goods
among Italy and other European
Union countries in concerned, will
be respected.
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ARTICLE 17
(i)
Any
difference
or
dispute
regarding the implementation of
this Agreement shall be settled
by mutual consultation and
negotiation. This does not absolve
the right of co producers who enter
into various contracts to seek legal
remedies- such remedies may
include conciliation, mediation and
arbitration.
well as t improve it in the best
interest of both countries. The
recommendations of the Joint
Commission are not binding on the
two Governments.
ARTICLE 18
(ii) The rights arising out of this
Agreement will not be enforceable
at the instance of third party (ies)
who are not signatory to this
Agreement.
(iii) An appropriate Joint Commission
may look after the implementation
of this Agreement. A meeting
of the Joint Commission shall
take place in principle once every
two years alternately in the
two countries. However, it may
be convened for extraordinary
sessions at the request of one or
both authorities, particularly in
the case of major amendments to
the legislation or the regulations
governing the film television and
video industries in one country or
the other, or where the application
of this Agreement present various
difficulties and shall submit to the
Authorities in the two countries,
for consideration, the necessary
amendments in order to resolve
any difficulties arising from the
application of this agreement as
(i)
The present Agreement shall
come into force when each
Party has informed the other
that its international ratification
procedures have been completed.
(ii) It shall be valid for a period of
three (3) years from the date of
its entry into force, a tacit renewal
of the Agreement for like periods
shall take place unless one or the
other Party gives written notice of
termination six (6) months before
the expiry date.
(iii) Co-Productions which have been
recognized by the authorities and
which are in progress at the time
of notice of termination of this
Agreement by either Party shall
continue to benefit fully until
completion from the provisions
of this Agreement. After expiry
or termination of this Agreement,
its terms shall continue to apply
to the division of revenues from
completed Co-Productions.
(iv) DONE in three originals at Rome,
this 13th Day of 2005, each
in Italian, English and Hindi
language, all versions being
equally authentic. In case of any
divergence in interpretation, the
In Witness Whereof, the undersigned, duly authorized thereto by their respective Governments,
have signed this Agreement.
For the Government of the
Republic of INDIA
Cannes Film Market
ITALIAN Republic
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05-05-2015 17:41:56
NEW ZEALAND
AGREEMENT ON AUDIO-VISUAL CO-PRODUCTIONS BETWEEN
THE GOVERNMENT OF NEW ZEALAND AND THE GOVERNMENT
OF THE REPUBLIC OF INDIA.
Th
The G
Governmentt off th
the R
Republic
bli off I
India
di and
d
the Government of New Zealand (‘the parties’)
SEEKING to enhance cooperation between
their two countries in the area of film;
DESIROUS of expanding and facilitating the
Co-Production of films which may be conducive
to the film industries of both countries and to
the development of their cultural and economic
exchanges;
between the two countries;
HAVE AGREED as follows:
ARTICLE 1
Definitions
For the purposes of this Agreement
1. Competent authorities shall be:
a. on behalf of the Republic of India, the
Ministry of Information and; and
b. On behalf of the Government of New
Zealand - to be indicated 2. “Co-producer” shall be:
a. as regards the Republic of India:
(i)
nationals/citizens
off the
ti
l / iti
th Republic
R
bli
of India;
(ii) permanent residents of India; and
(iii) entities which are established and/
or incorporated in India.
b. as regards the New Zealand - to be
indicated 3. ‘Film’ means an aggregate of images, or
of images and sounds, embodied in any
material, irrespective of length, including
animation and docu¬mentary productions,
produced in any format, for exploitation
in theatres, on tele¬vision, videocassette,
videodisc, CD-ROM, DVD or by any other
form of distri¬bution. New forms of
audiovisual production will be included in
this Agreement, through the exchange of
notes between the Contracting Parties.
ARTICLE 2
Competent authorities
1. The competent authorities responsible
shall be as defined in Article 1.
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05-05-2015 17:41:57
2. Co-Productions falling within the scope
of this Agreement shall be subject to the
approval of the competent authorities.
3. The Contracting Parties shall inform each
other if the competent authorities are
replaced by others.
ARTICLE 3
Recognition as a National film and Entitlement
to Benefits
Views to be indicated later.
ARTICLE 4
Conditions for obtaining approval of CoProduction status
1. Co-Production films shall require, prior to
the commencement of shooting, approval
by both the competent authorities.
Approvals shall be in writing and shall
specify the conditions upon which approval
is granted.
2. In considering proposals for the making of
a Co-Production film, both the competent
authorities, shall with due regard to their
respective policies and guidelines, apply
the rules set out in the Annex to this
Agreement.
control.
individually.
5. As a rule, the contribution includes at least
one leading actor, one supporting actor
and/or one qualified technical staff person,
in addition to the one person as referred to
in paragraph (4) provided that two qualified
Cannes Film Market
technical staff persons may substitute for
one leading actor.
6. The Co-producers in either of the two
capability,
financial
backing
and
professional reputation. The Contracting
Parties are not responsible or liable for the
7. The company carrying out the CoProduction shall provide evidence that
the primary business of that company
is audiovisual (film, television and video)
production.
8. The sharing of expenses and revenues
shall be as mutually decided by the Co
Producers.
ARTICLE 5
Contributions
1. Any benefits under this Agreement shall
be available for the Co-Production only
when investment of finance, material and
management including creative and other
inputs is not below 20 % (twenty percent)
of the total cost coming from the Coproducer of one country. The proportion
of the respective contribution of the co
producers of the Parties may vary from
20% (twenty percent) to 80% (eighty
percent).
2. Subject to prior approval and in exceptional
cases both Competent Authorities may
approve
Audiovisual
Co-Productions
where:
a. the contribution by one Co-producer is
limited to the provision of finance only,
in which case the proposed financeonly contribution shall be 50% (Fifty
per cent) or more of the total budget of
the Audiovisual Co-Production; or
b. Despite falling outside the contribution
rules, the Competent Authorities
consider that the project would further
the objectives of this Agreement and
should be approved accordingly.
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05-05-2015 17:42:01
3. Both the financial contribution, and the
performing, technical, craft and creative
participation of each Co-producer shall
account for at least 20% (twenty per
cent) of the total effort in making the CoProduction film.
ARTICLE 6
Minority and majority contribution in the case
of multilateral Co-Productions
1. Subject to the specific conditions and limits
multilateral Co-Productions, the minority
contribution may not be less than 10% (ten
per cent) and the majority contribution
may not exceed 70% (seventy per cent) of
the total cost of the film.
2. Both Competent Authorities shall also
look favourably upon co production to be
undertaken with any other country linked
with India and New Zealand by an official
co production agreement.
ARTICLE 7
Participants
1. The persons participating in the production
of a film shall fulfill the following
requirements:
a. As regards the Republic of India, they
shall be (i)
Nationals/Citizens of the Republic
of India or
(ii) Permanent residents of India;
b.
As regards the New Zealand - to be
indicated –
Participants in the Co-Production as defined in
sub paragraphs (a) and (b) must at all times
throughout the production retain their national
status, and may not acquire or lose such status
at any point during the course of production
activity.
2. Subject to the approval of the competent
authorities:
a. where script or costs dictates,
restricted numbers of performers from
other countries may be engaged;
b. in exceptional circumstances, restricted
numbers of technical personnel from
other countries may be engaged
ARTICLE 8
Film Processing, Laboratory work, Negatives
and Languages etc.
1. The processing of film including the
laboratory work, digital intermediate,
visual and special effects work shall be
done in either India or New Zealand unless
it is technically impossible to do so, in
which case the Competent Authorities of
both countries may authorize such work
in a country not participating in the co
production.
2. At least 90% (ninety per cent) of the
footage included in a Co-Production film
shall be specially shot or crated for the
film unless otherwise approved by the
competent authorities
3. Two negatives, or at least one negative and
Co-produced films. Each Co-producer shall
themselves.
4. The original soundtrack of each CoProduction film shall be made in Hindi or
any other Indian language or dialect or,
in English or ----- or in any combination of
those permitted languages. Dialogue in
other languages may be included in the
Co-Production, as the script requires.
India or New Zealand shall be carried
out in the Republic of India, or in the New
Zealand. Any departure from this principle
must be approved by the competent
authorities.
6. Post-release print dubbed into any other
language may be carried out in third
countries
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05-05-2015 17:42:02
7. The soundtrack may contain sections of
dialogue in any language in so far as is
required by the script.
for its export, if the respective contributions
of the Co-producers are equal;
c. of which the director is a national, if any
difficulties arise with the application of
sub-paragraphs (a) and (b) hereof.
ARTICLE 9
Location Shooting
1. Live action shooting and animation works
such as storyboards, layout, key animation,
in between and voice recording must, in
principle, be carried out either in India or
in New Zealand.
2. The Competent Authorities may approve
location shooting in a country other than
those of the participating Co-producers
if the script or action so requires and if
technicians from India and New Zealand
take part in the shooting.
3. Notwithstanding Article 7, where location
shooting is approved in accordance with
the present Article, citizens of the country
in which location shooting takes place may
be employed as crowd artists, in small
roles, or as additional employees whose
services are necessary for the location
work to be undertaken.
ARTICLE 10
Entry in International Festivals
enter Co-produced films in international
festi¬vals.
2. Films produced on the basis of equal
contributions shall be entered as a film
of the country of which the director is a
national, and if this is not possible then
the film shall be submitted as a film of
the country of which the lead actor is a
national, subject to the agreement of the
competent authorities of both Contracting
Parties.
2. Not withstanding Paragraph 1, in the event
that one of the Co-producing countries
enjoys unrestricted entry of its films into
a country that has quota regulations, a
Co-Production undertaken under this
Agreement shall be as entitled as any
other national production of the abovementioned Co-producing country to
unrestricted entry into the importing
country if that above-mentioned Coproducing country so agrees.
ARTICLE 12
Acknowledgements, Credits
A Co-Production film and the promotional
material associated with it shall include either
a credit title indicating that the film is an
‘Official Indian-New Zealand Co-Production”
or an ‘Official New Zealand – Indian CoProduction” or , where relevant, a credit which
reflects the participation of the Republic of
India, New Zealand and the country of a third
Co-producer.
ARTICLE 13
Temporary Entry into the country
personnel of the other Contracting
Party;
b. the import into and export from
Party.
ARTICLE 11
Export of Co produced Film
1. Where a Co-Production is exported to a
country that has quota regulations, it shall
be included in the quota of the Party:
a. which is the majority Co-producer;
b. that has the best opportunity of arranging
Cannes Film Market
ARTICLE 14
Permission for Public Exhibition
1. Permission for public exhibition will be in
accordance with local laws in both India
and New Zealand.
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05-05-2015 17:42:04
2. The approval of Co-Production status
under this Agreement will not mean a
commitment to permit public exhibition of
the Audiovisual Co-Production.
3. Modifications to the Annex shall be
confirmed by the competent authorities
in writing and shall take effect on the date
they specify.
ARTICLE 15
ARTICLE 18
Balanced contribution
1. A general balance should be maintained
with regard to both the artistic and
technical personnel, including the cast,
and with regard to the financial investment
and facilities (studios, laboratories, and
postproduction).
Entry into Force
Each of the Parties shall notify the other in
writing through the diplomatic channel of the
completion of any procedure required by its
constitutional law for giving effect.
2. The Joint Commission, established in terms
of Article 16, shall carry out a review to see
whether this balance has been maintained
and, if this is not the case, shall take
measures, which it considers necessary in
order to re-establish such a balance.
ARTICLE 16
Joint Commission
1. The Joint Commission shall be composed
of representatives from the Competent
Authorities and from the audio-visual
industry of both the contracting parties.
2. The role of the Joint Commission shall be
to supervise and review the operation of
this Agreement and to make any proposals
considered necessary to improve the effect
of the Agreement.
request of either of the Parties within six
months of such a request.
ARTICLE 17
Status of Annex
1. The Annex to this agreement constitutes
an implementing arrangement in respect
of this Agreement and shall be read in
conjunction with the provisions of this
Agreement
2. Subject to paragraph 2 of Article 18, any
modifications to the Annex shall be agreed
by both the competent authorities. No
modifications to the Annex shall conflict
with the provisions of this Agreement.
ARTICLE 19
Amendment
1. Subject to paragraph 2 of this Article, this
Agreement may be amended by written
agreement between the two parties
through an exchange of diplomatic notes.
Amendments shall take effect on the date
specified in the notes.
2. Either Party may by diplomatic note notify
the other of a change in its competent
authority. The change shall take effect on
the date specified in the note.
ARTICLE 20
Settlement of Disputes
negotiation.
ARTICLE 21
Duration and Termination
1. The term of this Agreement shall be for a
period of three years from the date it enters
into force and thereafter automatically
renewed for further periods of three years.
diplomatic channel.
3. Termination of this Agreement shall
have no effect on the comple-tion of
Co-Productions approved prior to its
termination.
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05-05-2015 17:42:06
Done at ______________________-this ____day of ______________, ________in the English and
Hindi languages, both texts being equally authentic. In case of any divergence in interpretation,
the English text shall prevail.
Republic of INDIA
NEW ZEALAND
Annexure to Agreement between the
Government of the Republic of India and the
Government of the ____________________ on
Audio Visual Co-Productions
(Rules of procedure for applications for
approval of Co-Production status under this
agreement)
1. Applications for qualification of a film
for Co-Production benefits under this
Agreement for any Co-Production must be
made simultaneously to both competent
authorities at least thirty (30) days before
shooting begins.
copyright for the Co-Production has
been legally acquired;
3.3 a copy of the Co-Production contract
signed by the two Co-producers.
The contract shall include a. the title of the Co-Production;
2. The competent authority of both Parties
shall communicate their proposal to the
other competent authority within twenty
(20) days of the submission of the complete
documentation as described in paragraph
3 below.
items, drafted in _________in the case
of _______ and in English in the case of
India:
3.1 The final script and synopsis; CoProductions under this Agreement
shall be shot in ____________or India,
as the case may be, in accordance
with the guidelines of the respective
country; The Parties shall inform each
other from time to time of relevant
guidelines and any changes thereto.
3.2 Documentary proof of having legally
exploit the Co-Production and that the
Cannes Film Market
b. the name of the author of the script, or
that of the adaptor if it is drawn from a
literary source; necessary permission
for adapting the literary work into a
film from the author/legal heirs may
be attached;
c. the name of the director (a substitution
clause is permitted to provide for his/
her replacement if necessary);
d. the budget;
e. the financing plan;
f.
a clause establishing the sharing
g. a clause detailing the respective shares
of the Co-producers in any over or
under expenditure, which shares shall
in principle be proportional to their
respective contributions, although the
minority Co-producer’s share in any
over expenditure may be limited to a
lower percentage or to a fixed amount
providing that the minimum proportion
permitted under Article 9 of the
Agreement is respected;
h. a clause stating that the competent
217
05-05-2015 17:42:08
agreed in Article 9;
i.
a clause stating that films Co-produced
under this Agreement may be publicly
exhibited in either country in accordance
with prescribed rules/procedures;
j.
a clause recognizing that admission to
benefits under this Agreement does
not constitute a commitment that
governmental authorities in either
public exhibition of the Co-Production;
k. a clause prescribing the measures to
be taken where:
(i) after full consideration of the
case, the competent authorities in
either country refuse to grant the
benefits applied for;
(ii) the competent authorities prohibit
the exhibition of the Co-Production
in either country or its export to a
third country;
(iii) either one or the other Party fails
to fulfill its commitments;
l.
the period when shooting is to begin;
m. a clause stipulating that the majority
Co-producer shall take out an
insurance policy covering at least
“all production risks” and “all original
material production risks”; and
n. a clause providing for the sharing of the
ownership of copyright on a basis that
it is proportionate to the respective
contributions of the Co-producers.
3.4 the distribution contract, where it has
already been signed, or a draft if it has
yet to be concluded;
3.5 a list of the creative and technical
personnel indicating their nationalities
and, in the case of performers, the
3.6 the production schedule;
3.7 the detailed budget identifying the
country; and
3.8 all contracts and other relevant
financial documentation for all
participants in the financial structure.
4. The competent authorities can demand any
5. In principle, the final shooting script
(including the dialogue) should be
submitted to the competent authorities
prior to the commencement of shooting.
before the Co-Production is finished. The
replacement of a Co-producer may be
allowed only in exceptional cases and for
reasons satisfactory to both the competent
authorities.
7. The competent authorities will keep
each other informed of their respective
decisions.
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POLAND
OF POLAND AND THE GOVERNMENT OF THE REPUBLIC OF
INDIA ON AUDIOVISUAL CO-PRODUCTION.
The government of the republic of poland
and the government of the republic of india
hereinafter referred to as the “Parties”:
CONSIDERING it desirable to establish a legal
framework for relations regarding audiovisual
Co-Production, especially the production of
films for the cinema and television, as well
as films intended solely for dissemination on
analogue or digital data carriers;
AWARE that a high quality of Co-Production
may encourage the development of enterprises
and institutions which produce, distribute and
disseminate films and enhance cultural and
economic exchange between both States;
CONVINCED that such exchange shall
strengthen relations between both States;
financed and produced by Co-producers
from Poland and India; recorded on film or
magnetic tape or on a digital medium; and
intended for public dissemination in any
way, especially in the cinema, on television
or on analogue or digital data carriers. The
term “Co-Production” shall also mean
a plan to produce and the process of
producing such a film.
2. Each Co-Production undertaken under this
Agreement, after it has fulfilled all the
conditions herein, must gain approval from
the following Competent Authorities:
ARTICLE 1
1. For the purpose of this Agreement, the
term “Co-Production” shall mean a feature
film intended for screening in the cinema
as the primary field of exploitation, as
well as a documentary, educational and
animated film, regardless of length, jointly
Cannes Film Market
(i)
In the Republic of Poland – the
Minister of Culture and National
Heritage,
(ii) In the Republic of India – the
Ministry of Information, Radio and
Television.
(iii) Each Co-Production undertaken
under this Agreement shall be
realized and disseminated in
accordance with the law in force
in Poland and in India.
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(iv) Unless otherwise provided for
under the laws in force in Poland
and India, each Co-Production
undertaken under this Agreement
shall be regarded a domestic
production in each State-Party
in order to obtain all present and
future benefits conferred upon
domestic productions in these
two States. Nevertheless, such
benefits shall be due only to Coproducers from the country which
confers these benefits.
ARTICLE 2
Each Co-producer must possess broad
professional experience, good technical
organization,
considerable
organization
abilities, strong financial support and a good
reputation. These qualities shall be verified by
the parties to co-production agreements, and
no clause in this Agreement shall give rise to
any liability by the Competent Authorities or
Governments to conduct such a verification.
ARTICLE 3
1. The contribution of Co-producers from
each State should range from twenty
percent (20%) to eighty percent (80%) of
the budget of each Co-Production.
2. The Co-producers from each State
should make a tangible creative and
technical contribution to a Co-Production
in proportion to their share in its budget,
encompassing the total engagement of
filmmakers, actors, technical-production
personnel, laboratories and facilities. In
justified cases, the Competent Authorities
may approve a Co-Production which does
not satisfy all of these requirements.
ARTICLE 4
Producers, directors, screenwriters and
actors, as well as technicians and remaining
staff engaged in the Co-Production, must
hold Polish or Indian citizenship or have their
place of abode or permanent residence in
one of these States, in accordance with the
domestic law of each State. In justified cases,
the Competent Authorities may approve a CoProduction which does not satisfy all of these
requirements.
ARTICLE 5
1. The Competent Authorities may approve a
Co-Production involving, apart from Polish
and Indian Co-producers, Co-producers
from third countries which are parties to an
audiovisual Co-Production agreement with
at least one of these States (multilateral
Co-Production).
2. The minimum contribution by a Coproducer in a multilateral Co-Production
should be ten percent (10%) of the CoProduction’s budget. Article 3 para 2 of this
Agreement shall apply as appropriate.
ARTICLE 6
1.
Filming and animation work, including
the storyboard, layour, key animation and
in between as well as sound recording,
should be carried out in Poland or India.
2. The filming of scenes in the open air
or indoors may be performed in a third
country if the screenplay or plot requires
it and if Polish and Indian technicians are
involved in this work.
3. Laboratory processing shall be carried
out in Poland or India, unless this is not
possible for technical reasons. In such
a case, the Competent Authorities may
permit the laboratory processing to be
carried out in a third country.
ARTICLE 7
1. The original soundtrack of each CoProduction shall be recorded in Polish,
English or one of the languages or dialects
of India (languages of the Parties). Dubbed
soundtracks in any of these languages may
be recorded in Poland or in India. A film
may be made in more than one language
of the Parties version. Dialogues may
also be recorded in other languages if the
screenplay requires this.
2. Each language version of each CoProduction (dubbing or subtitles) shall
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be produced in Poland and in India, as
appropriate. Any departures from this
rule must be approved by the Competent
Authorities.
ARTICLE 8
1. Each Co-Production shall be made in at least
two copies of good picture quality, of equal
legal validity, and in two international sound
copies, on media which permit independent
distribution in Poland and India.
2. The original negatives, as well as the final
version of back up copies and master
copy, shall be stored in the country of the
majority Co-producer or in another place
agreed upon between the Co-producers.
Regardless of the place of storage, each
Co-producer should have guaranteed
access to these materials at any time, so
that he may make essential reproductions
under terms and conditions agreed upon
between the Co-producers.
3. At least two backup copies of medium
and high-budget Co-Productions shall
be made. If the Co-producers so agree,
only one backup copy and one copy of the
materials for reproduction may be made
in the case of Co-Productions deemed
to be low budget Co-Productions by the
ARTICLE 9
In accordance with the laws in force in their
States, the Parties shall:
1. Permit producers, copywriters, directors,
technicians, actors and other personnel
specified in each Co-Production agreement
to enter and briefly stay in their country,
2. Permit the film equipment and tapes
required for Co-Production to be brought
into and taken out of the country.
ARTICLE 10
The division of revenues between Co-producers
should correspond to their contribution to the
Co-Production, taking into account Article 3
para 2 of this Agreement, and should be clearly
stated in the Co-Production agreement.
Cannes Film Market
ARTICLE 11
No provision of this Agreement shall imply that
the approval of Co-Production or the granting
of any associated benefits by the Competent
Authorities signifies an obligation by any of the
Governments so grant a license, concession,
permit or similar decision to Co-producers or
any other persons for the dissemination of a
Co-Production. Neither shall any such provision
imply that these Authorities consider a CoProduction justified or bear any responsibility
for it.
ARTICLE 12
1. If a Co-Production is exported to a third
country which applies a maximum quota of
such imports, the Co-Production shall be
included in the quota of the majority Coproducing State.
2. If there is no majority Co-producing State,
the Co-Production shall be included in
the quota of that State-Party which, in
the joint opinion of the Co-producers, has
better chances of exporting the film. In
the absence of agreement between the
Co-producers, the Co-Production shall
be included in the quota of the country of
which the director is a citizen.
3. If one of the State-Parties enjoys an
unlimited right to export its films to a third
country which applies a maximum quota of
such imports, the Co-Production, like any
other domestic production of the StateParty, shall be the subject of unlimited
exports to that third country, with the
approval of that country’s Competent
Authorities.
ARTICLE 13
1. Each
Co-Production
destined
for
presentation shall be endorsed with the
caption “A Polish Indian Co-Production”
or “An Indian-Polish Co-Production”,
depending on the majority Co-producer’s
country of origin. In the absence of such
a Co-producer, the Co-Production shall be
endorsed in accordance with the terms of
the Co-Production ent.
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2. The caption referred to in para 1 shall be
accommodated in the opening credits
and in all advertising and promotional
materials, especially whenever such a CoProduction is presented.
ARTICLE 14
1. Unless otherwise agreed upon by the
Co-producers, if a Co-Production is to be
presented at an international film festival,
it shall be submitted by the majority Coproducer’s country or, in the absence
thereof, by the country of which the film
director is a citizen.
2. Prizes, grants and other distinctions
granted for the Co-Production shall be
divided between the Co-producers in
accordance with the terms of the CoProduction agreement and the laws in
force in both States.
3. All non-pecuniary awards granted for the
Co-Production, especially any honorary
distinctions and statuaries conferred by a
third country or by an organization from a
third country, shall be kept by the entity
specified in the Co-Production agreement
or, in the absence thereof, by the majority
Co-producer.
ARTICLE 15
The producers governing the application of
this Agreement, taking into account the law in
force in Poland and in India, are set forth in an
Appendix to this Agreement and thus form an
integral part thereof.
ARTICLE 16
The Parties shall impose no restrictions on the
import, distribution and dissemination of Polish
and Indian films to be shown in the cinema or
on television, or destined solely for distribution
on analogue or digital data carriers, to the extent
permitted under the laws of Poland and India.
ARTICLE 17
1. The Parties and Competent Authorities
shall resolve any disputes during the
realization of this Agreement by means of
negotiations.
2. For the purpose of a further expansion of
co-operation between the two States in
the sphere of audiovisual Co-Production,
the Parties express their readiness to
introduce all necessary amendments and
additions to this Agreement in the manner
foreseen in the laws of both States.
3. To facilitate the application of this
Agreement, the Parties or Competent
Authorities may appoint a Joint
Commission which will normally meet
every two years, alternately in Poland and
in India. The Commission may also be
convened for an extraordinary meeting at
the motion of the Competent Authorities or
one or both Parties, especially in the event
of significant changes to the legislation of
any of the States-Parties which could affect
the implementation of this Agreement, or
in the event of major difficulties with its
implementation.
ARTICLE 16
1. This Agreement is subject to acceptance
in accordance with the laws of each Party,
which shall be effected by means of an
exchange of memoranda. The date on
which this Agreement enters into force
shall be the date on which the later of the
two memoranda is received.
2. This Agreement is concluded for an
indefinite period. Either Party may
terminate it with six month’s notice,
conveyed to the other Party in writing.
3. Any Co-Productions approved by the
Competent Authorities and being realized
at the moment of termination of this
Agreement by either party shall continue
to be bound by the terms thereof until
they are completed. If this Agreement
expires or is terminated, its provisions will
be applied to the division of revenues from
completed Co-Productions.
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In witness whereof the undersigned, duly authorized by their respective Governments, have
signed this Agreement.
Done in ……………on……………….in two counterparts, each of them in Polish and in English, whereby
all texts are equally authentic.
Republic of POLAND
Republic of INDIA
APPENDIX
c. The name of the director,
PROCEDUTES
General Provisions
Applications for any benefits under this
Agreement in aid of any Co-Production
must be submitted simultaneously to the
Competent Authorities at least sixty (60)
days before filming begins. The Competent
Authorities of the State of which the majority
Co-producer or another Co-producer indicated
by the Co-producers is a citizen shall convey
their decision to the Competent Authorities of
the other State within thirty (30) days of the
submission of the complete documentation
listed below. Again within thirty (30) days,
the Competent Authorities of the other State
shall convey their decision to the Competent
Authorities of the first State and to the Coproducer appointed by the Co-producers.
Applications should be supported by the following
documents, drawn up in Polish and English in
the case of Poland and in English and one of the
languages of India in the case of India:
1. Final version of the screenplay,
d. A synopsis,
2. Evidence of the lawful acquisition of
the copyright necessary to a given CoProduction,
e. A budget plan,
f.
g.
h.
i.
j.
k.
l.
m.
3. A signed copy of a Co-Production agreement
concluded between Co-producers, which
should contain:
a. The title of the Co-Production,
b. The name of the author of the
screenplay or of the person who
adapted the screenplay, if it is based on
literary sources,
Cannes Film Market
n.
A financial plan, stating the financial
input of the Co-producers,
A clause defining the division of
revenues and markets,
A clause setting forth a share in the
copyright in proportion to the input of
individual Co-producers,
A clause describing what to do if the
budget is exceeded,
A clause describing the measures to
be taken (if one of the Parties does not
discharge its obligations,
A clause setting forth the rules
governing financial settlements if
any Co-producer fails to provide the
financial contribution agreed upon in
the Co-Production agreement,
A clause confirming that the acceptance
of a Co-Production does not imply any
production will be distributed in the
States-Parties,
A clause obligating the majority Coproducer to take out an insurance
policy providing cover at least
against “all production risks” and
“all production risks connected with
original materials.”
The
date
on
which
filming
commences.
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4. The distribution agreement, if such an
agreement has already been concluded,
5. A list of the filmmakers, actors and
technicians, indicating their nationality
and, in the case of actors, the names of
their characters,
6. A production schedule,
7. A detailed budget, showing the expenditures
to be incurred by the Co-producers in each
country.
IMPORTANT PROVISIONS FOR INDIA
In addition, an application addressed to the
Indian Ministry of Information, Radio and
Television (MIRT) should be accompanied
by four copies of the screenplay and film
synopsis, together with a payment mandate
for USD 200 payable to the MIRT Department
of Payments and Settlements.
If the film is to be shot wholly or partly in
India, the Co-producers must provide the
Indian Embassy in Poland and MIRT with the
following information:
1. Details of any non-Indian members of
the film crew: names, passport numbers
and expiry dates, country which issued
the passport, nationality, permanent and
temporary address.
2. An accurate description of the shooting
locations and the film crew’s travel plans.
3. A description of the cinematographic
equipment and quantity of film to be
brought in to India temporarily.
Within three weeks of receipt of the required
set of documents, the MIRT will send the
appropriate filming permit to all Co-producers
and the Competent Authorities in the other
State. A longer period for issuing the filming
permit may be required if filming is to take
place in Jammu and Kashmir, north-eastern
States and some border zones.
Permission to film in India may be dependent
upon the following conditions:
1. Permission from a person or his legal heir
who is to be portrayed in the film; a copy of
the permission should be attached to the
screenplay,
2. If it is necessary to obtain assistance
from the Ministry of Defence, Ministry of
Education, etc. separate agreements may
have to be concluded with these Ministries.
Requests for such assistance may be
submitted vis the MIRT,
3. Each film for whose production the
assistance of the Armed Forces has been
obtained must be presented to the Ministry
to the Ministry of Defence in order to obtain
permission for its distribution.
4. In particular cases, a film may have to
be presented to a representative of the
Government of India or to the Indian
Embassy in Poland before it can be shown
anywhere in the world. Also in particular
cases, a liaison officer may be assigned
to a film crew – at the expense of the
Government of India.
CONCLUDING PROVISIONS
The Competent Authorities may ask for any
additional documents or information which
they consider essential in order to consider an
application for a Co-Production.
The final screenplay (with script) should be
presented to the Competent Authorities prior
to the start of filming.
Amendments, including a change of Coproducer, may be made to the original
Co-Production agreement. However, any
amendments must be submitted to the
Competent Authorities for approval before
the Co-Production is completed. A change of
Co-producer is permissible only in exceptional
circumstances, and for reasons considered by
the Competent Authorities to be satisfactory.
The Competent Authorities shall inform each
other of the decisions they have reached.
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SPAIN
AGREEMENT OF AUDIOVISUAL CO-PRODUCTION
BETWEEN THE REPUBLIC OF INDIA AND THE
KINGDOM OF SPAIN.
The Republic of India and The Kingdom of
Spain (hereinafter, “The Parties”)
Seeking to improve cooperation between the
two countries in the audiovisual field: aware
of the contribution which Co-Production can
make to the development of the audiovisual
industry.
Desirous of promoting and facilitating the CoProduction of films between the two countries,
and the development of their cultural and
economic exchanges.
Convinced that these exchanges shall
contribute to improving relations between the
two countries:
the terms of recognition given by the
competent authorities of India and Spain
under this Agreement. New forms of
audio-visual production shall be included
in the present Agreement by exchange of
notes between the Parties.
2. The Competent Authorities responsible
shall be :
ARTICLE 1
In this Agreement, unless the Agreement
otherwise requires:
1. A “Co-Production” is a film including
feature film, documentary, and animation
film irrespective of length, on any format
to be shown in the first place in cinemas,
jointly invested in and produced by Coproducers made in accordance with
Cannes Film Market
a. On behalf of the Republic of India,
by the Ministry of Information and
Broadcasting.
b. On behalf of the Kingdom of Spain, by
the Instituto de la Cinematografia y de
las Artes Audiovisuales (Institute of
Cinematography and Audiovisual Arts)
and when applicable, the competent
authorities of the Autonomous
communities where applicable.
c. Co-Productions falling within the scope
of this Agreement shall be subject
to the approval of the competent
authority.
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05-05-2015 17:42:23
d. The Contracting parties shall inform
each other if the competent authorities
are replaced by others.
3. Subject to the approval of both competent
authorities, a film Co-produced in
compliance with this Agreement shall
be deemed to be a national film in the
territory of each Party and shall thus be
fully entitled to all the benefits which are
granted under the laws and regulations in
force in the territory of each Party.
ARTICLE 2
1. The Co-producer in either of the two
capability,
financial
backing
and
professional reputation.
2. The Contracting Parties shall in no way
be responsible or liable with regard to
ARTICLE 3
1. Before shooting starts, Co-Production
films shall require approval from both the
competent authorities. For this purpose,
each Co-producer would be required
to submit an application, alongwith the
information as required in the Annexure, to
the Competent Authority. Approvals shall
be notified in writing and must specify the
conditions according to which the approval
is granted.
control.
3. Co-Productions falling within the scope
of this Agreement shall be subject to the
approval of both the Competent Authorities,
who would take into consideration their
respective policies and guidelines and the
requisites laid down in Annexure to this
Agreement.
ARTICLE 4
1. On a general basis, in Co-Productions there
must exist an effective contribution of
technical, creative and artistic personnel, of
the nationality of the participant countries,
which must be in proportion to the financial
contribution made by each Co-producer.
individually.
The contribution by a minority Co-producer
will include participation of at least two
actors and a head of Department in addition
to an author (author means director or
screenwriter or photography director or
music composer).
3. Both the financial contribution and the
participation of each of the Co-producers
in the performing, technical, artistic and
creative tasks shall represent at least 20%
(twenty percent) of the budget in making
the Co-Production films.
4. As an exception to the contribution
rules stated in paragraph 1 & 2 of this
Article, both Competent Authorities
shall be able to grant approval to the CoProduction projects known as “financial
Co-Productions” in which the contribution
of one of the Co-producers is limited to
only financing, in which case financial
contribution shall be no greater than 25%
(twenty five percent) nor less than 10%
(ten percent) of the total cost of the film.
ARTICLE 5
1. When India or Spain maintains an audiovisual Co-Production agreement with a
third country, the competent authorities
shall, by virtue of this Agreement, be
able to approve a Co-Production project
to be produced with the participation of
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a Co-producer from a third party, whose
contribution may be no greater than 30%.
2. In the event of multilateral Co-Productions,
the lesser participation may be not lower than
10 percent and the greatest one not higher
than 70 percent of the cost of the film.
ARTICLE 6
1. The producers of a Co-Production shall be
Nationals/ citizens or permanent residents
either of India or Spain subject to any sort
of compliance of the obligations created by
European Union upon Spain as a member.
2. Participants in the Co-Production as
defined in paragraph 1 must at all times
throughout the production retain their
national status, and may not acquire or
lose such status at any point during the
course of production activity.
3. Should the film so require, the participation
of professionals who are not citizens of
one of the Co-producing countries may
be permitted, but only in exceptional
circumstances, and subject to agreement
between the competent authorities of both
3. The processing and post-production of CoProductions shall be done either in India
or Spain, unless it is technically impossible
to do so, in which case the processing
and post-production in a country not
participating in the Co-Production may be
authorized by the competent authorities of
both countries.
ARTICLE 9
1. The Co-Production shall have the original
soundtracks either in Hindi, or in other
Indian language or dialect, or in Spanish
or in any other official languages in Spain,
or English language or in any combination
of those permitted languages, which
can further be dubbed in any of these
languages.
2. In the event, if script so desires, any
other language can be used for stray
dialogues with permission from competent
authorities.
The rights, revenues and prizes arising in
connection with the Co-Production shall be
shared between the Party Co-Producers in
a manner that shall be agreed between the
Party Co-producers.
3. It will be necessary that the dubbing or
sub-titling of the Co-Production will be
done or performed either in India or Spain.
Dubbing or sub-titling in Indian languages
should be performed in India and dubbing
or sub-titling into Spanish or in any other
official languages in Spain should be
performed in Spain, and dubbing or subtitling in English could be performed
in India or Spain depending upon the
agreement between Co-producers.
ARTICLE 8
ARTICLE 10
1. Live action shooting and animation works
such as storyboards, layout, key animation,
in between and voice recording must, in
principle, be carried out either in India or in
Spain.
1. The Co-Production film and the promotional
material associated with it shall include
certain credit titles stating that the film
is a “Co-Production between India and
Spain” or a “Co-Production between Spain
and India” or, when appropriate credit titles
reflecting the participation of India, Spain
and the country of a third Co-producer.
ARTICLE 7
2. Location shooting of a Co-produced
film, exterior or interior, in a country not
participating in the Co-Production may,
however, be authorized by the competent
authorities of both countries if the script
or the action so requires and if technicians
from India and Spain take part in the
shooting.
Cannes Film Market
2. Prizes, grants, incentives and other
benefits awarded to the Co-produced
work may be shared between the Coproducers, in accordance with what has
been established in the Co-Production
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05-05-2015 17:42:28
b. the import into and export from
Party.
contract and in conformity with applicable
laws in force.
3. All prizes which are not in cash form,
such as honorable distinctions or trophies
awarded by third countries, for Coproduced work produced according to
the norms established by this agreement,
shall be kept in trust by the majority Coproducer or according to terms established
in the Co-Production contract/ agreement.
ARTICLE 11
1. When a Co-produced film is exported to a
country, which has quota limitations:
a. In principle, the Co-produced film shall
be included in the quota of the country
of the majority investment;
b. If both Co-producers have made an
equal investment, Co-producers of
both sides shall decide the quota in
question through mutual consultation,
so that the Co-produced film can be
included in the quota of the country
that can make better arrangements for
the export of the film;
c. If difficulties still exists, the Coproduced film shall be included in
the quota of the country of which the
2.
Notwithstanding paragraph 1, in the
event that one of the Co-producing countries
enjoys unrestricted entry of its films into
a country that has quota regulations,
a co production undertaken under this
Agreement will be as entitled as any other
national production of the above-mentioned
Co-producing country to unrestricted entry
into the importing country if that abovementioned Co-producing country so agrees.
ARTICLE 12
personnel of the other Contracting
Party;
ARTICLE 13
Permission for public exhibition will be in
accordance with local laws in both India and
Spain.
ARTICLE 14
Notwithstanding any other provision in this
Agreement, for the purpose of taxation the
laws in force in both the countries shall apply.
ARTICLE 15
1. There shall exist a Joint Commission
composed of representatives of the Parties,
including the competent authorities and
representatives of the industry.
2. The role of the Joint Commission shall
consist of supervising and reviewing the
application of this Agreement, making
any proposal that is amended necessarily
for improving the effect of the Agreement
and modifying the appendix hitherto as
appropriate.
request of either of the Parties, within six
months of such a request.
ARTICLE 16
This Agreement shall come into force after
each Party has informed the other Party
through official diplomatic channels that its
internal ratification procedures have been
completed.
ARTICLE 17
This Agreement may be amended by the
mutual consent of the Contracting Parties
through the exchange of notes between the
Contracting Parties through the diplomatic
channel. The change shall take effect on the
date specified in the note.
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ARTICLE 18
Any dispute between the Parties arising out
of the interpretation or implementation of
this Agreement shall be settled consensually
through consultation and negotiation and shall
not be referred for resolution to any national or
international tribunal or a third party.
ARTICLE 19
1. This Agreement including the Annex, which
forms an integral part of this agreement,
shall remain in force unless terminated in
terms of paragraph (2).
diplomatic channel.
3. Notwithstanding the provisions of
paragraph 1 of this Clause, this Agreement
shall continue in force with regard to any
Co-Production film that has received
approval from the competent authorities
and which has not yet been completed
prior to its termination.
Done at _____________on the day _________ of__________________
in three originals each in Hindi, Spanish and English, all these versions being authentic.
For the Republic of SPAIN
For the Republic of INDIA
Cannes Film Market
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UNITED KINGDOM
FILM CO-PRODUCTION AGREEMENT BETWEEN THE
GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN
AND NORTHERN IRELAND AND THE GOVERNMENT OF THE
REPUBLIC OF INDIA.
The Government of the United Kingdom
of Great Britain and Northern Ireland and
the Government of the Republic of India
(“hereinafter called the Parties”):
Considering that there is potential for the film
industries of each country to work together
on account of shared or complementary
characteristics that include the structure of
each film industry, the film culture of each
country and the extent of the availability in
each country of filmmaking facilities, a suitably
skilled workforce and locations for filming;
Recognising that development of such potential
will be to the mutual advantage of each Party,
in particular in respect of the growth and
competitiveness of their film industries and
the enhancement of their film cultures;
Noting the benefits available in each country
to films with national film status;
Desiring to encourage the making of films that
reflect, enhance and convey the diversity of
culture and heritage in both countries;
Acknowledging the benefits that would flow
from the making of such films and their
increased public availability; and
Noting on the basis of mutual cooperation, the
Agreement is intended to produce benefits for
both parties.
ARTICLE 1
Definitions
1. In this Agreement:
“Approved Co-Production” means a Coproduced film which has Approved CoProduction status in accordance with
Article 2;
“Co-producer” means any individual,
partnership,
body
corporate
or
unincorporated association who is a Coproducer of a film;
“Competent
Authority”
means
a
government department or other body
as shall be nominated by the respective
Party in each country to make decisions on
applications for the grant of Approved Co-
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Production status;
“Film” includes any record, however made,
of a sequence of visual images, which is a
record capable of being used as a means of
showing that sequence as a moving picture,
and for which there is an expectation for
theatrical release and public exhibition.
“Indian Co-producer” means a Co-producer
who is established and/or incorporated in
India; and
“UK Co-producer” means a Co-producer
who is established and/or incorporated
in England, Wales, Scotland or Northern
Ireland.
2. References to filmmaking contribution
benefiting the UK or India include, in
particular, the expenditure in that country
on goods and services which directly results
from the Co-Production and the use made
of filmmaking facilities or filming locations
in that country.
3. Subject to Article 2(2) the Annex forms an
integral part of this Agreement. Any reference
to this Agreement includes the Annex.
ARTICLE 2
Approved Co-Production status
1. The Competent Authorities may grant
approved Co-Production status to a film
which provides appropriate filmmaking
and cultural benefits to the UK and India;
and meets the requirements set out in this
Agreement.
consider desirable.
3. The Annex shall also include rules of
procedures on:
a. the granting of approvals of an
application for Approved Co-Production
status;
b. the withdrawal of Approved CoProduction status;
c. any other matters that the Parties
consider desirable.
4. The Annex shall include provision as to the
criteria for measuring mutual benefits.
5. The Annex shall enter into force as soon as
the Parties have notified each other of the
completion of their respective legal and
constitutional procedures.
6. In determining an application made to it,
a Competent Authority shall apply these
requirements in accordance with guidance
published by the Competent Authority
under this Article.
7. Each Competent Authority may from time
to time publish guidance consisting of
such information and advice as it considers
appropriate with respect to:
a. how applications are to be made to the
Competent Authority, and
b. the operation and interpretation of this
Agreement.
8. Such guidance shall, in particular, set out:
2. The Parties shall jointly arrive at, through a
subsequent exchange of notes, a mutually
agreed Annex to this Agreement. The
Annex shall include requirements as to:
a. how the Competent Authority proposes
to make decisions on applications for
the grant of Approved Co-Production
status, and
a. the appropriate filmmaking and
cultural benefits to the UK and India;
b. factors it will take into account when
exercising any discretion conferred on
it by this Agreement.
b. the nature of Co-producers;
c. the minimum and maximum financial
contributions of Co-producers;
d. filmmaking
producers;
contributions
of
Co-
9. Nothing in this Agreement binds the
relevant authorities in the UK or India to
permit the public exhibition of a film, which
has been granted Approved Co-Production
status.
e. content, language, credits, locations
and personnel; and
f.
any other matters that the Parties
Cannes Film Market
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ARTICLE 3
Benefits
1. This Article applies in relation to any film
which has Approved Co-Production status
under this Agreement.
1. Each Party shall permit, in accordance
with their respective legislation, including,
for the UK relevant European Community
legislation, temporary import and export,
free of import or export duties and taxes,
of any equipment necessary for the
production of an Approved Co-Production.
2. Each Party shall permit any person
employed in the making or promotion of
an Approved Co-Production to enter and
remain in the UK and India, as the case
may be, during the making or promotion
of the film, subject to the requirement that
they comply with the legislation relating to
entry, residence and employment.
1. A film shall be eligible for the grant of
Approved Co-Production status even
if production commenced before this
Agreement entered into force, but only if:
a. the first day of principal photography
of the film is no more than 18 months
before the date on which the Agreement
enters into force, and
b. production of the film is completed after
the date on which the Agreement enters
into force.
2. An Approved Co-Production shall continue
to be eligible to receive any benefits
available under this Agreement on or after
the date on which the Agreement ceases
to have effect, but only if:
a. before that date, the Competent
Authorities have given the film requisite
approval for Approved Co-Production
status under Article 2.
3. Each Party shall treat a film falling within
paragraph (1) of this Article as a national
film for the purposes of any benefits
afforded in that country to national films.
b. its principal photography commenced
before the date on which the Agreement
ceases to have effect, and
c. production of the film is completed
before the end of the period of twelve
months commencing with the date on
which the Agreement ceases to have
effect.
4. The question of which Party may claim
credit for an Approved Co-Production as
a national film at an International Film
Festival shall be determined:
a.
by reference to whichever is the
greater of either:
(i)
the total financial contributions
made by the UK Co-producer or
Co-producers (taken together), or
(ii) the total financial contributions
made by the Indian Co-producer
or Co-producers (taken together);
or
b. if the respective total financial
contributions are equal, by reference
to whichever of the UK or India the
director of the film is most closely
associated with.
ARTICLE 4
Films in production before and after entry into
force
ARTICLE 5
Review and Amendment
1. The Parties shall keep the Agreement
under review and, where they consider it
appropriate to do so, may recommend that
changes be made.
2. The Parties shall report to the other
annually in writing on the current state of
the Agreement.
3. The Parties may, at any time through an
exchange of mutually agreed notes, make
amendments to the Agreement.
4. Any such amendment shall enter into force
as soon as the Parties have notified each
other of the completion of their respective
legal and constitutional procedures.
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ARTICLE 6
International obligations
1. The provisions of this Agreement are
without prejudice to the international
obligations of the Parties, including in
relation to the United Kingdom obligations
arising from European Community law.
ARTICLE 7
Entry into force
1. This Agreement shall enter into force as
soon as the Parties have notified each other
of the completion of their respective legal and
constitutional procedures.
2. Either Party may terminate this Agreement
at any time by giving at least 6 months’ prior
written notice to the other Party.
3. The Agreement shall cease to have effect on
the expiry of the period of notice given under
paragraph (2) of this Article.
IN WITNESS WHEREOF, the undersigned, being duly authorised thereto by their respective
Governments, have signed this Agreement.
DONE in duplicate at New Delhi this fifth Day of December 2005 in the English and the Hindi
languages, both texts being equally authentic. In case of any divergence in interpretation, the
For the Government of the United the
Republic Kingdom of Great
BRITAIN and NORTHERN IRELAND
For the Government of INDIA
Cannes Film Market
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ANNEX
Rules for applications
for approval of Film Co-production Agreement
d)
the budget;
e)
the financing plan;
f)
a clause establishing the
sharing of revenues, markets,
media or a combination of
these;
g)
a clause detailing the
respective shares of the
co-producers in any over or
under expenditure, which
shares shall in principle
be proportional to their
respective
contributions,
although the minority coproducer’s share in any over
expenditure may be limited
to a lower percentage or
to a fixed amount providing
that the minimum proportion
permitted
under
the
Agreement is respected;
h)
a clause stating that the
competent
authorities
have to be informed if
the percentage of the
contribution of a co-producer
changes subsequent to the
approval of the competent
authorities;
i)
a clause stating that films
co-produced under this
Agreement may be publicly
exhibited in either country in
accordance with prescribed
rules/procedures;
j)
a clause recognizing that
admission to benefits under
this Agreement does not
constitute a commitment
that
governmental
authorities in either country
will grant a license to permit
public exhibition of the coproduction;
between
the Government of the Republic of India
and
the Government of United Kingdom of Great
Britain
and Northern Ireland
1.
Applications for qualification of a film
for co-production benefits under this
Agreement for any co-production must
be made to competent authority at least
thirty (30) days before shooting begins.
2.
Documentation submitted in support of an
items, drafted in English:
2.1
The final script and synopsis;
2.2
Documentary proof of having legally
exploit the Co-Production and that
the copyright for the co-production
has been legally acquired;
2.3
Proof of compliance with the
prescribed procedure for permission
regarding entry of crew, equipment
and for shooting location in India;
2.4
A copy of the co-production
contract signed by the two coproducers.
The contract shall include –
a)
the title of the co-production;
b)
the name of the author of the
script, or that of the adaptor
if it is drawn from a literary
source; necessary permission
for adapting the literary work
into a film from the author/
legal heirs may be attached;
c)
the name of the director
k)
a clause prescribing the
measures to be taken where:
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(i)
(ii)
after full consideration
of the case, the
competent authorities
in either country refuse
to grant the benefits
applied for;
the co-producers.
the
competent
authorities prohibit the
exhibition of the coproduction in either
country or its export to
a third country;
(iii) either one or the other
Party fails to fulfill its
commitments;
l)
the period when shooting is
to begin;
m)
a clause stipulating that
the majority co-producer
shall take out an insurance
policy covering at least “all
production risks” and “all
original material production
risks”; and
n)
a clause providing for the
sharing of the ownership
of copyright on a basis that
it is proportionate to the
respective contributions of
Cannes Film Market
2.5
the distribution contract, where it
has already been signed, or a draft
if it has yet to be concluded;
2.6
a list of the creative and technical
personnel
indicating
their
nationalities and, in the case of
performers, the roles they are to
play;
2.7
the production schedule;
2.8
the detailed budget identifying the
country; and
2.9
all contracts and other relevant
financial
documentation
for
all participants in the financial
structure.
3.
The competent authorities can demand
4.
The final shooting script (including
the dialogue) should be submitted to
the competent authority prior to the
commencement of shooting.
5.
Amendments may be made in the original
before the co-production is finished.
235
05-05-2015 17:42:43
05-05-2015 17:42:45
KEY FILM
INDUSTRY
CONTACTS
A comprehensive list of associations,
producers, distributors and independent
across India
Cannes Film Market filmmakers 237
05-05-2015 17:42:46
Key Film Industry Contacts
PRODUCTION HOUSES
(SOUTH INDIAN FILM CHAMBER OF
COMMERCE)
TAMIL
A.V.M.PRODUCTIONS
ROJA COMBINES
B.R.R.ART ENTERTAINERS
A.V.M.SARAVANAN
M.KHAJA MOIDEEN
RADHA RAVI
044-42136700
94443-80111
98400-41877
K.R.INFOTAINMENT P.LTD
JEYAM COMPANY
A.KOTHANDARAMAIAH(K.R)
EDITOR MOHAN
SRI MISHRI
PRODUCTIONS
98410-8850
98402-76403
CHANDRA PRAKASH JAIN
98410-39141
SATHYA JYOTHI FILMS
MURALI CINE ARTS
T.G.THYAGARAJAN
H.MURALI
95000-19899
94440-87517
AMMA CREATIONS
LAKSHMI MOVIE MAKERS
T.SIVA
K.MURALIDHARAN
94445-34567
94440-87417
STUDIO GREEN
GNANAVEL RAJA
THIRRUPATHI BROS.FILM
MEDIA P.LTD
96000-77666
SUBASH CHANDRA BOSE
SURYA MOVIES
98840-49333
A.M.RATHNAM
ALAGAPPA ART
CREATIONS
SEVENTH CHANNEL
COMMUNICATIONS
MANICKAM NARAYANAN
98841-91434
SUPER GOOD FILMS
R.B.CHOWDHRY
98410-70204
99625-68605
AL.ALAGAPPAN
PYRAMID FILMS
INTERNATIONAL
WIDE ANGLE CREATIONS
98410-23495
V.NATARAJAN
SURESH BALAJI
98410-54545
99401-23451
CHITRA LAKSHMANAN
MOTHERLAND PICTURES
AASCAR FILMS P.LTD
94443-83744
KOVAI THAMBI
V.RAVICHANDRAN
98400-92700
98410-22246
GAYATHRI FILMS
238
05-05-2015 17:42:46
AGS ENTERTAINMENT
P.LTD
SRI THENANDAL FILMS
RAMA NARAYANAN
SHARANYA CINE
COMBINES
KALPATHI AGORAM
98410-38782
K.BHAGYARAJ
98410-34988
98400-71277
V.V.CREATIONS
B.STUDIOS
S.A.CHANDRASEKAR
V.CREATIONS
BALA
98849-12234
S.THANU
99445-53319
98840-19999
METRO FILMS P.LTD
CAPITAL FILM WORKS
JAYAKUMAR (METRO)_
S.P.CHARAN
96000-75589
99401-16660
CLOUD 9 MOVIES
RAAJKAMAL FILMS
INTERNATIONAL
DAYANIDHI ALAGIRI
KAMAL HAASAN
90031-86771
044-2433-4140
COMPANY PRODUCTIONS
SIVAJI PRODUCTIONS
M.SASIKUMAR
RAMKUMAR
99405-66667
044-2835-0127
G.K.FILM CORPORATION
MUKTHA FILMS
G.K.REDDY
MUKTHA V.SRINIVASAN
98409-80590
93802-44118
P.V.P.CINEMA
MOVIE MAGIC
POTLURI
MADHESH
93818-41146
98400-23111
R.K.PRODUCTIONS
KASTHOORI RAJA
KAVITHALAYA
PRODUCTIONS P.LTD
044-2815-1468
K.BALACHANDER
RAJLAKSHMI FILMS
P.LTD
PL.THENAPPAN
94440-00069
SIVASAKTHI MOVIE
MAKERS
SIVASAKTHI PANDIAN
984680660
ANBALAYA FILMS
K.PRABAKARAN
98846-12130
VASAN VISUAL VENTURES
K.S.SRINIVASAN
98409-89111
AVM.FILM STUDIOS
M.BALASUBRAMANIAN
98407-20703
98412-27171
S.PICTURES
SHANKAR
044-2376-0643
Cannes Film Market
239
05-05-2015 17:42:46
TELUGU
SRI AMULYA ART
PRODUCTIONS
DASARI FILM
UNIVERSITY
SRI RAGHAVENDRA CINE
CHITRA
C.KALYAN
DASARI NARAYANA RAO
K.SATYANARAYANA
078939-55599
098681-81002
9444419354
DEVI KAMAL MOVIES
GEETHA ARTS
K.C.SEKAR BABU
ALLU ARAVIND
SAI GANESH
PRODUCTIONS P.LTD
9849635350
098497-34567
BELLAMKONDA SURESH
098490-05528
CREATIVE COMMERCIALS
K.S.RAMA RAO
SREE LAKSHMI
PRODUCTIONS
098490-99399
T.RAMA RAO
VARMA CORPORATION
LTD
94440-21521
RAM GOPAL VARMA
040-23541968
SRI KRISHNA PRASANNA
CREATIONS
PRASAD PRODUCTIONS
T.PRASANNA KUMAR
A.RAMESH PRASAD
USHAKIRON MOVIES
098490-33383
9849111176
RAMOJI RAO
08145-246408
SURESH PRODUCTIONS
RAMA FILMS
D.RAMA NAIDU
K.NAGESWARA RAO
9849022033
9866611225
240
05-05-2015 17:42:46
KANNADA
AJANTHA COMBINES
RAMU ENTERPRISES
ANJANADRI CINEMA
A.R.RAJU
RAMU
H.N.MARUTHI
099806-19726
080-2226-3430
080-22262277
K.C.N.MOVIES
ROCKLINE PRODUCTIONS
CHINNI FILMS
K.C.N.CHANDRASEKAR
ROCKLINE VENKATESH
JAYASREE DEV I
098455-44003
093412-32275
9448810228
POORNIMA ENTERPRISES
TANU CHITRA
PARVATHAMMA RAJKUMAR
SA.RA.GOVINDU
SHREE SHOUNDARYA
ARTS
080-23346716
9448051314
JAYAMALA
080-2341-3331
MALAYALAM
GRIHALAKSHMI
PRODUCTIONS
REVATHI KALAMANDHIR
CENTURY
G.SRUESH KUMAR
DR.P.V.GANGADHARAN
9447123299
M.C.PHILIP ALIAS
KOCHUMON
098473-40404
9444017808
KOKERS FILMS
SEVEN ARTS
INTERNATIONAL LTD
G.P.VIJAYAKUMAR
98840-25747
EVERSHINE
PRODUCTIONS
S.S.T.SUBRAMANIAM
A.A.SYED KOKER
SUNITHA PRODUCTIONS
098470-30040
AROMA MANI
094471-69996
ADOOR
GOPALAKRISHNAN
PRODNS.
SWARGA CHITRA
ADOOR GOPALAKRISHNAN
9846096669
P.D.APPACHAN
0471-2446567
098470-35281
GANESH PICUTRES
MADHU AMBAT
PRODUCTIONS
MUDRA ARTS
RAVIKOTTARAKARA
MADHU AMBAT
B.SASHIKUMAR
97908-33335
99401-66566
098470-56465
Cannes Film Market
241
05-05-2015 17:42:46
FILM & TV GUILD
MEMBERS
Name
Production House / Banner
Email Address
A.G Nadiadwala
M/s A.G. Vision LLP
[email protected]
Aamir Khan
M/s Aamir Khan Productions
Pvt. Ltd.
[email protected]
Aashish Singh
M/s Yash Raj Films Pvt. Ltd.
aashish@yashrajfilms.com,
Abhay Chopra
M/s B. R. Films
Abhay Chopra
M/s. B R Films Pvt. Ltd.
Abhay Chopra
M/s. B R TV
Abhinav Shukla
M/s Nautanki Films Pvt. Ltd.
abhinav@nautankifilms.com
Ajay Bijli
M/s PVR Pictures Ltd.
ajay.bijli@pvrcinemas.
com, kamal.gianchandani@
pvrpictures.com
Ajay Goel
M/s Goel Cine Corporation
[email protected]
Ajhai Acharya
M/s Baba Arts Limited
[email protected]
Ajit Andhare
M/s Viacom 18 Motion Pictures/
[email protected]
M/s Viacom 18 Media Pvt. Ltd.
Akkineni Nagarjuna Rao
M/s Annapurna Studios Pvt. Ltd.
Aly Morani
Aman Gill
abhaychopra@brfilmsindia.
com
com
com
[email protected]
M/s Cineyug Media
[email protected]
M/s Gill Pictures Entertainment
[email protected]
Pvt. Ltd.
Amit Khanna
M/s Filmunit
[email protected]
Amitabh Bachchan
M/s A B Corp Limited
[email protected]
Anil Kapoor
M/s Anil Kapoor Films Co. Pvt. Ltd.
[email protected]
Anupam Kher
anupamkher@gmail.
M/s Actor Prepares Productions com,herman@
anupamkhercompany.com
242
05-05-2015 17:42:46
Anushka Sharma/Karnesh
M/s Clean Slate Films Pvt. Ltd.
Sharma
M/s Inspired Entertainment Pvt.
Arun Pandey
Ltd.
M/s Reliance Broadcast
Asheesh Chatterjee
Network Ltd.
asheesh.chatterjee@
reliancebroadcast.com
Ashim Samanta
M/s Aradhana Films
[email protected]
Ashim Sen
M/s Masen Production Pvt. Ltd.
[email protected]
Ashish Bhatnagar
M/s IDream Motion Pictures
Pvt. Ltd.
Ashok Thakeria
M/s Maruti International
Ashutosh Gowariker
M/s Ashutosh Gowariker
Productions Pvt. Ltd.
ashish@
idreammotionpictures.com
marutint@vsnl.
com,marutipictures@gmail.
com
[email protected];info@
agppl.com, ashgow@hotmail.
com
Asitkumarr Modi
M/s Neela Telefilms Pvt. Ltd.
asitmodi@neelatelefilms.com
M/s Super Cassettes Industries
Ltd.
M/s BSK Network and
bhushankumar@tseries.
net,[email protected]
Bhushan Kumar
Boney Kapoor
Cushru P Shroff
D Suresh Babu
Denzil Dias
karnesh@cleanslatefilms.in
[email protected]
[email protected]
cushru.shroff@
loweandpartners.com
suresh@sureshproductions.
M/s Suresh Productions (P) Ltd. net,archana@
sureshproductions.com
M/s Warner Bros. Pictures
[email protected]
(India) Pvt. Ltd.
M/s Lin-TV Advertising Pvt. Ltd.
Dheeraj Kumar
M/s Creative Eye Ltd.
[email protected]
Dr. Bhupendra Kumar
Modi
M/s Spice Corp Ltd.
[email protected],
[email protected]
Ekta Kapoor
M/s Balaji Films Ltd. / Ms Balaji
Motion Pictures Ltd.
[email protected]
Farhan Akhtar
M/s Excel Entertainment Pvt. Ltd.
[email protected],ritesh@
exlent.com
G B Aayeer
M/s Saregama India Limited
[email protected]
Govind Nihalani
M/s Udbhav Dreamzone Pvt. Ltd.
[email protected]
Guneet Monga/Achin Jain M/s Sikhya Entertainment Pvt. Ltd. [email protected]
Cannes Film Market
243
05-05-2015 17:42:46
Himanshu Mehra
M/s Movie Temple Productions
Pvt. Ltd.
[email protected]
Hiren Gada
M/s Shemaroo Entertainment Ltd.
[email protected]
J Om Prakash
M/s Filmyug Pvt. Ltd.
J.P.Dutta
M/s J. P. Films
Jyotin Goel
M/s Goel Screencraft
[email protected]
Kalyaan Guha
M/s Film Farm India Pvt. Ltd.
[email protected]
Kamal Kumar Barjatya
M/s Rajshri Pictures Pvt. Ltd.
[email protected],
[email protected]
Kamna Menezes
M/s SOL Productions Pvt. Ltd.
[email protected]
Karan Johar
M/s Dharma Productions Pvt.
Ltd.
apoorva@dharma-production.
com
Ketan Anand
M/s Himalaya Films
[email protected]
Kiran V Shantaram
M/s V Shantaram Productions
Pvt. Ltd.
[email protected]
Kumar Taurani
M/s Tips Industries Ltd.
[email protected]
Kunal Kohli
M/s Kunal Kohli Productions
Pvt. Ltd.
Madhu Mantena/Vikas
Bahl/Ashwatha Aaron
Naik
M/s Phantom Films Pvt. Ltd.,
[email protected],
[email protected]
[email protected],vikas@
phantoms.in,kamlakar@
bigbangcompany.com
Manish Goswami
M/s Siddhant Cinevision Ltd.
[email protected]
Manmohan Shetty
M/s Walkwater Media Ltd.
manmohanshetty@
adlabsentertainment.
com,eleena.dsilva@
adlabsentertainment.com
Milan Luthria
M/s Vertex Motion Pictures Pvt. Ltd. [email protected]
Mohan Kumar
M/s Emkay Films Pvt. Ltd
emkayfi[email protected]
Mohan Umrotkar
M/s Reliance Mediaworks Ltd.
mohan.umrotkar@
relianceada.com
Mrinal Sen
Ms. Madhu Bhojwani
fi[email protected],
[email protected]
[email protected],jassi@
jpfilms.net
[email protected]
M/s Emmay Entertainment &
Motion Pictures LLP,
244
[email protected]
05-05-2015 17:42:46
Mukesh Bhatt
Mukesh Bhatt
N P Singh
Neeraj Roy
Nikhil Advani
Nina Lath Gupta
Nishi Prem
Nitin Raghuvanshi
mukesh.bhatt@visheshfilms.
M/s Vishesh Entertainment Pvt. com,sb@visheshfilms.
Ltd.
com,gilbert@visheshfilms.
com
mukesh.bhatt@visheshfilms.
com,sb@visheshfilms.
M/s Vishesh Films Pvt. Ltd.
com,gilbert@visheshfilms.
com
[email protected],diptik@
M/s Multi Screen Media Pvt. Ltd.
setindia.com
M/s Hungama Digital Media
[email protected]
M/s Emmay Entertainment
[email protected]
Pvt. Ltd.
M/s National Film Development
[email protected]
Corp. Ltd
M/s Paanch Rupaiya Bara Aana nishiprem@prbaproductions.
(PRBA) Productions Pvt. Ltd.
com,[email protected]
M/s Sahara One Media &
nitin.raghuvanshi@
Entertainment Ltd.
saharaqcloud.in
Nuzhat Khan
M/s Nasir Husain Films Pvt. Ltd.
nasirhusainfi[email protected]
Prakash Jha
M/s Prakash Jha Productions
prakashjha_productions@
rediffmail.com,klchhabra15@
gmail.com
Prateek Chakravorty
M/s Pramod Films
pramodfi[email protected]
Prem Sagar
M/s Sagar Entertainment Ltd.
premsagar@sagartv.
Priti Shahani
M/s Junglee Pictures Limited
[email protected]
Pritish Nandy
Rahul Johri
M/s Pritish Nandy
Communications Ltd.
M/s Discovery Communications
India
[email protected]
[email protected]
Raj Kumar Kohli
M/s Shankar Movies
Rajan Shahi/Ranjit
Agrawal
M/s Director's Kut Production
[email protected]
Rajesh Mishra
M/s UFO Moviez India Limited
rajesh.mishra@ufomoviez.
com
Rajith Menon
M/s Amalgam Entertainment,
[email protected]
Rajiv Rai Sachdev
M/s Trimurti Films Pvt. Ltd.
info@trimurtifilms.com
Cannes Film Market
245
05-05-2015 17:42:46
Rajkumar Hirani/Sanjiv
Kishinchandani/Dileep
Desai
M/s Rajkumar Hirani Films Pvt.
Ltd.
Rakesh Roshan
M/s Filmkraft Productions
(India) Pvt. Ltd.
Ramesh Prasad
M/s Prasad Productions Pvt. Ltd.
Ramesh Sippy
M/s R. S. Entertainment Pvt. Ltd.
[email protected]
Randhir Kapoor
M/s R. K. Films & Studios
randhirkapoor@rkfilms.net
Randhir Kapoor
M/s R. K. Films & Studios Pvt. Ltd.
randhirkapoor@rkfilms.net
Ratan Jain
M/s Venus Worldwide
venus7.music@gmail.
Renu Ravi Chopra
M/s B.R. Studios LLP
renuchopra@brfilms.in
Ritesh Batra/Ms. Seher
Latif
M/s Poetic License Motion
Pictures Pvt. Ltd.
M/s Mumbai Mantra Media
Limited
[email protected];
[email protected]
rohit.mumbaimantra@gmail.
com
M/s Rupam Pictures Pvt. Ltd.
[email protected]
Rohit Khattar
Romu N Sippy
Sabbas Joseph
Sajid Nadiadwala
Salman Khan/Amar
Butala/Garima Mehta
Sameer Rattonsey
Samir Gupta
Sandeep Singh Bedi
Sanjeev Lamba
Shah Rukh Khan
Shakti Sagar Chopra
[email protected]
filmkraf@vsnl.
com,shashankjare@yahoo.
com
ramesh@prasadlab.
sabbas.joseph@
wizcraftworld.com;
[email protected]
mail@nadiadwalagrandson.
M/s Nadiadwala Grandson
com,sajid.nadiadwala@gmail.
com
[email protected],gm.
M/s Salman Khan Ventures Pvt.
[email protected],info@
Ltd.
skvonline.com
M/s Cinema Paradiso
sameer@cinemaparadiso.
co.in
samir@cinemacapitalindia.
M/s Cinema Capital
com,info@cinemacapitalindia.
com
M/s Wizcraft International
M/s Kaleidoscope Ent. Pvt. Ltd
[email protected]
M/s Reliance Entertainment
- Division of Reliance Big
M/s Red Chillies Entertainments
Pvt. Ltd.
venkymysore@redchillies.
M/s Fable Tree Pictures Pvt. Ltd.
[email protected]
246
sanjeev.lamba@relianceada.
com
05-05-2015 17:42:46
Shaukat Khan
M/s Mehboob Productions
Private Ltd.
[email protected]
Sheetal Talwar
M/s. WSG Pictures Pvt. Ltd.
[email protected]
Shhyam Singhania
Shiamak Davar
Shiv Surinder Kumar/
Sanjana Chopra
Shridhar Subramaniam
Shyam Benegal
Siddharth Roy Kapur
Sidhartha M Jain
Sourav Chatterjee
Srishti Arya
Subhash Ghai
[email protected]
M/s Shiamak Davar
International (India) Ltd.
M/s The Bombay Film Company
Ltd.
M/s Sony Music Entertainment
India Pvt. Ltd.
M/s Shyam Benegal Sahyadri
Films
[email protected],
[email protected]
[email protected]
shridhar.subramaniam@
sonymusic.com
[email protected]
siddharth.roykapur@disney.
com,rachel.fernandes@
disney.com
[email protected],naina@
M/s IRock Media Pvt. Ltd.
irockindia.com
sourav.chatterjee@
contentratechnologies.
M/s Planman Motion Pictures
com,rahul.singh@
planmanconsulting.com
shrishti.arya@gmail.
M/s Rose Audio Visuals Pvt. Ltd.
sgmukta1@gmail.
M/s Mukta Arts Limited
M/s UTV Software
Communications Ltd.
Subhash Mukerji
M/s Subodh Mukerji Productions [email protected]
Sujit Kumar Singh
M/s Shreya Entertainment Pvt.
Ltd.
[email protected],akamat@
shreya.co.in
Suneil Anand
M/s Navketan (1978)
[email protected]
Suniel Anand
M/s Navketan Films
[email protected]
Suniel Anand
Sunil Doshi
M/s Navketan International
Films
M/s Alliance Media &
Entertainment
[email protected]
[email protected]
Sunil Lulla
M/s Eros International Media Ltd. [email protected]
Sunjoy Waddhwa
M/s Sphereorigins Multivision
Pvt. Ltd.
[email protected],
[email protected]
Sushilkumar Agrawal
M/s Ultra Distributors Pvt. Ltd.
[email protected]
Cannes Film Market
247
05-05-2015 17:42:46
Uday Shankar
M/s Star India Pvt. Ltd.
[email protected]
Uday Singh
M/s Motion Picture Association
(MPA) Of America
[email protected]
Umesh Mehra
M/s Eagle Films Pvt. Ltd
[email protected]
Umesh Shukla
M/s Benchmark Pictures Pvt. Ltd. [email protected]
Uttam Jhavar
M/s Morya Arts Pvt. Ltd.
Vaibhav Anand
M/s Vaibhav Vijay Anand
Pictures
Varjinder Chhabra
M/s Anand Sagar Media And
Vidhu Vinod Chopra
M/s Vinod Chopra Productions
Vijay Singh
M/s Fox Star Studios India Pvt.
Ltd.
Vikram Bhatt/ Anjukumar M/s ASA Production &
Bishnoi
Enterprises Pvt. Ltd.
Vipul Amrutlal Shah
Vipul D. Shah/Sanjiv
Sharma
Vishal Bharadwaj
Vivek Singhania
M/s Block Buster Movie
Entertainers
jhavaruttam@gmail.
vijayanandproductions@
gmail.com
[email protected],
anandsagarmedia@yahoo.
com
vcp@vinodchopra.
com;sameer@vinodchopra.
com, bhavin.vcf@gmail.
[email protected].
com,anahitab@
in.foxstarstudios.com
[email protected]
"vipul_a_shah@hotmail.
com,aashin.shah@
sunshinepictures.in"
M/s Optimystix Entertainment
India Pvt. Ltd.
M/s Vishal Bhardwaj Pictures
Pvt. Ltd.
vbpictures@gmail.
com,[email protected]>
M/s Picture Perfect
[email protected]
M/s TV18 Broadcast Ltd.
Vailankani.Almeida@
network18online.com
[email protected]
M/s Tilak Movies Pvt. Ltd.
M/s Prakash Mehra Pictures P. Ltd. [email protected]
M/s V R Pictures
M/s Sippy Films Pvt. Ltd.
subhash@sippyfilms.com,
[email protected]
For Complete List of Film & T.V. guild members:
www.filmtvguildindia.org
248
05-05-2015 17:42:46
ASSOCIATIONS &
INDUSTRY BODIES
Film Federation
of India
The Film & TV
Producers Guild of
India
Indian Council of
IMPEX for films and
TV Programmers
Federation of
Indian Chambers
of Commerce and
Industry
supransen.fi[email protected]
kulmeet@filmtvguildindia.org
fi[email protected]
leena.jaisani@ficci.com
Confederation of
Indian Industry
[email protected]
Associated
Chambers of
Commerce and
Industry of India
[email protected]
Cannes Film Market
249
05-05-2015 17:42:46
ASSOCIATIONS
AFFILIATED TO FILM
FEDERATION OF INDIA
Association
President
Email Address
Andhra Pradesh Film Chamber of
Commerce
Mr. N. V. Prasad
info@apfilmchamber.com
Akhil Bharatiya Marathi Chirtrapat
Mahamandal
Mr. Vijay Vishnu
Patkar
chitrapatmahamandal@
gmail.com
Bihar & Jharkhand Motion Pictures
Association
Dr. Sunil Kumar
[email protected]
Central Circuit Cine Association
Mr. J. P. Chowksey
cccaindore@rediffmail.
com
Cinema Owners & Exhibitors
Association of India
Mr. Nitin Datar
udaychitra.datar@gmail.
com
Chennai City Film Exhibitors
Association
Mr. Sv Rm
Ramnathan
[email protected]
Eastern India Motion Pictures
Association
Mr. Shrikant Mohta
shrikant@venkateshfilms.
com
Film Makers Combine - Chairman
Mr. T.P. Aggarwal /
Mr. Sangram Shirke
indiafi[email protected]
Film & Television Producers Guild of
South India
guildsouth123@hotmail.
com
Indian Council of Impex for Films & TV
Programmers
Mr. Hirachand Dand
madhuentertainment@
gmail.com
Indian Documentary Producers
Association
Mr. Mike Pandey
[email protected]
Indian Motion Picture Producers
Association
Mr. T. P. Aggarwal
tripat_aggarwal@yahoo.
com
Kerala Film Chamber of Commerce
Mr. K Nanda Kumar
[email protected]
Karnataka Film Chamber of Commerce
Mr. Thomas D’souza
[email protected]
Kannada Film Producers Association
Mr. Munirathna
[email protected]
250
05-05-2015 17:42:46
Kinematograph Renters Society Pvt.
Ltd,
[email protected]
Motion Pictures Association
Mr. Sakshi Mehra
sakshimehra@rediffmail.
com
Motion Pictures Association of America
Inc.
Mr. Uday Singh
uday_singh@mpaa-india.
org
South Indian Film Chamber of
Commerce
Mr. Shashi
Balakrishnan
[email protected]
Tamil Film Produces Council
Mr. Thanu
[email protected]
Tamilnadu Film Chamber of Commerce
Mr. Abirami
Ramanathan
[email protected]
Telugu Film Producers Council,
Hyderabad
Mr. B. Shivaram
Krishna
[email protected]
Telugu Film Producers Council, Chennai
Mr. Edida
Nageshwara Rao
The Indian Motion Picture Distributors
Association
Mr. Ramesh Sippy
South Indian Film Exporters
Association
Cannes Film Market
[email protected]
251
05-05-2015 17:42:46
INDEPENDENT FILM
MAKERS-PRODUCERS
ALAN MCALEX
DEEPAK ASWANI
JAMAL DOUBA
Jar pictures
Handmade films pvt ltd
Media link international
[email protected]
deepak@
theadaptationcompany.com
[email protected]
AMIT CHHEDA
JASMINE JAISINGHANI
Shethia audio video pvt. Ltd.
FARHATULLAH BEIG
Iffla
[email protected]
Honeybee media works
beig4fi[email protected]
jasmine.jaisinghani@gmail.
com
Karma film inc.
GANDHARV SACHDEV
JULIA ROSENBERG
anand@karmafilm.ca
Celluloid entertainment pvt
ltd
January films
ANUP SINGH
artecraftfi[email protected]
ANAND RAMAYYA
Saskia vischer productions
[email protected]
julia@januaryfilms.ca
JUNAID MEMON
GAURI CHADHA
Nomad films
Chasing frames productions
ARFI LAMBA
[email protected]
junaid@nomadfilmsindia.
com
Bombay berlin film
production llp
GIRISH MALIK
KATHARINA SUCKALE
arfi@bombayberlin.com
One world films pvt. Ltd.
Bombay berlin film
production
girish@oneworldfilms.in
[email protected]
BIDHU BHUSHAN PANDA
Eleeanora images pvt. Ltd.
GUNEET MONGA
[email protected]
Sikhya entertainment
KAUSHIK MUKHERJEE
[email protected]
Overdose art pvt ltd
[email protected]
DAVID LOCKWOOD
Umbrella entertainment
HARISH AMIN
[email protected]
Speaking tree pictures pvt
ltd
KAVEETA OBEROI KAUL
DEEP SEHGAL
[email protected]
[email protected]
IMTIAZ BAROLIA
MANJEET SINGH
Zero gravity pictures
Cinemanjeet creations
[email protected]
[email protected]
Avatar productions
deep@avatarfilms.org
252
Kriya movies
05-05-2015 17:42:46
MANMEET SINGH
RAJESH KUMAR JAIN
SHAZIA KHAN
Vr films & studios pvt ltd
Krish movies
Saffron films
themanmeet007@gmail.
com
[email protected]
saffronfilmsindia@gmail.
com
RAKESH MEHTA
MANU REWAL
Duniya vision / karma
productions
Celluloid entertainment pvt
ltd
SHRIHARI SATHE
[email protected]
ssathe@infinitumproductions.com
[email protected]
Infinitum productions
RICKY SINHA
NIKHIL MAHAJAN
Khyati productions
pvt. Ltd.
SUHRUD GODBOLE
Blue drop films
[email protected]
[email protected]
[email protected]
NIKHIL SANE
ROMAN JEDRKOWIAK
SUNIL DOSHI
Essel vision
productions ltd.
Adhd warsaw
Alliance media &
entertainment pvt. Ltd
[email protected].
com
roman.jedrkowiak@
adhdwarsaw.pl
Ime motion pictures
[email protected]
RUPESH PAUL
SUNIR KHETERPAL
PARVIN DABAS
Cinema verite
Azure entertainment
Very fishy films pvt ltd
[email protected]
[email protected]
veryfishyfi[email protected]
SAMIT KAKKAD
SURESH K MENON
PRAVESH BHARDWAJ
Akshara films division
Motion film picture inc
Medient studios india
aksharafi[email protected]
[email protected]
pravesh.bhardwaj@medient.
com
SANDEEP KULKARNI
TAPAAS CHAKRAVARTI
Kathakaar entertainment
[email protected]
Dq entertainment
international limited
SANJAY SURI
tapaas@dqentertainment.
com
RAJ AMIT KUMAR
Dark frames
[email protected]
RAJAN KHOSA
Elephant eye productions
pvt. Ltd.
Anticlock films
sanjay@
kahwaentertainment.com
VASANTHAKUMAR
THIRUMAVALAVAN
Ajj film services
[email protected]
SHAHIN BAZIL
[email protected]
RAJESH JALA
Century 21 visual media
company
VEENA BAKSHI
The elements
[email protected]
Shree narayan studios pvt
ltd
[email protected]
[email protected]
Cannes Film Market
253
05-05-2015 17:42:46
VIKRAM SHERMA
VIVEK RANGACHARI
MARAR
Cvs films
Dar media pvt. Ltd.
Kreasen
[email protected]
vivek.rangachari@darworld.
com
[email protected]
VIVEK RANGACHARI
Dar media pvt.Td.
XAVIER D’SOUZA
arun.rangachari@darworld.
com
Shree narayan studios pvt
ltd
[email protected]
This is just an indicative list. If you are looking for
an independent filmmaker who is not included in
this list, or have any query, mail us at
[email protected]
254
05-05-2015 17:42:46
05-05-2015 17:42:47
05-05-2015 17:42:47
30-04-2015 22:27:12
Government of India
www.makeinindia.com
Government of India
INDIA
FILM GUIDE
GOVERNMENT OF INDIA
ROOM NO.107, FILMS WING, SHASTRI BHAVAN
DR. RAJENDRA PRASAD ROAD
NEW DELHI - 110 001 INDIA
Government of India
Sirifort Auditorium Complex,
August Kranti Marg, New Delhi- 110049
Tel: 91 11 26499371
www.dff.nic.in; www.iffi .nic.in
Federation of Indian Chambers of
Commerce and Industry
FICCI Federation House, Tansen Marg
New Delhi, India 110001
Tel: +91-11-23738760
www.ficci.com
INDIA FILM GUIDE 2015
in partnership with
Cannes Film Market
India Pavilion
in partnership with
111 International Village Riviera
May 14-24, 2015
30-04-2015 22:26:20

India Film Guide - International Film Festival of India

Transcription

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