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With excitement building over the 71st Cannes Film Festival that starts May 8, India & You brings to you yet another issue focused on the film festival.
From Nandita Das’ sophomore film ‘Manto’, and Sanket Kulkarni’s short film ‘#505’, to Stanley Hector’s budget film ‘Midnight at Two’ shortlisted for the side competition, we cover how despite making it to Cannes, Indian films have been missing from the main competition for long.
Filmmakers and industry insiders like Prakash Jha and Nandita Das shed light on the changing trends in Indian cinema, censorship and more.
Take a closer look into the world of filmmaking in India as we pack the issue with interesting anecdotes from the Indian film industry.
Get an insight into the world of filmmaking in India as various film cities in the country offer a studio tour. Providing backdrops for many memorable Indian classics, these studios are dressed up to look like somewhere else. Visit these sets and see for yourself; how many scenes can you tick off?
Indian virtual reality content developers have been active since 2015. Though access to technology and expertise in this fully immersive 360-degree visual environment has improved, it still faces challenges due to limited access to equipment. Yet, virtual reality filmmaking in India is slowly becoming popular.
The world’s second largest population belongs to India, with an estimated 30 pc of the 1.33 billion people under the age of 15. Also, India produces the most number of films in the world. Yet, there is hardly any notable tailor-made content being produced for children. Why don’t the numbers add up?
Known for films with a strong message to the society, director-producer Prakash Jha is working on yet another socially charged film Satsang. The 10-time national award-winning filmmaker speaks to India & You about his future projects, the need for certification and not censorship, independent cinema, and more.
With the advent of cinema in India, while most filmmakers chose to project the fading grandeur of Indian princely states or reprise historical fables, Guru Dutt used the medium to capture the loneliness of his characters and present a critical point of view of the Indian society during the 1950s and early 1960s.
Over the past few years, the remake rage has bitten Bollywood. Not just film titles, but old song tracks are also being recreated with fresh beats and raps. Though for some artists and producers it’s a win-win, the formula doesn’t guarantee box office success. Also, while some see it as lack of originality, others think of recreation as a skill.
