At Cannes this year, India returned with a historic haul of awards
At the 77th Cannes Film Festival, India shattered its long-standing underdog status with a wave of new films. Eight titles from the subcontinent graced the festival’s official and parallel sections, marking a significant presence. Notably, India emerged victorious with a historic collection of awards. Payal Kapadia’s All We Imagine as Light clinched the Grand Prix, while Anasuya Sengupta secured the best actress accolade in the Un Certain Regard sidebar for her role in Konstantin Bojanov’s India-based drama, The Shameless. Additionally, Mysore-based filmmaker Chidananda S. Naik’s FTII certificate film Sunflowers Were the First Ones to Know claimed the La Cinef first prize, making it only the second Indian film to achieve this feat.
These triumphs provided a significant boost to India’s independent cinema scene. While skeptics may view it as a fleeting moment, seasoned observers see it as a genuine shift. The remarkable showing at Cannes this year signals promising changes in the landscape of Indian cinema.
End of the neo-noir era
At Cannes 2024, Indian cinema took a distinct departure from the Mumbai gangster narrative that had previously dominated selections from the subcontinent, particularly in Directors’ Fortnight (including films like Gangs of Wasseypur, Peddlers, Ugly, and Rama Raghav 2.0). Instead, a blend of personal and political themes converged in narratives captured through a fresh perspective. The four new Indian narrative features showcased at Cannes this year were both diverse and original. These included an exploration of female camaraderie in a bustling metropolis, an understated police drama unfolding in the rugged terrains of North India, a gritty portrayal of two sex workers forming an unlikely bond in a small-town underworld, a feminist reinterpretation of the vampire genre challenging conventional norms, and a visually stunning film set in Ladakh with a unique aesthetic. This eclectic mix offered a truly remarkable cinematic experience.
The rise of female power
Except for Maisam Ali’s Cannes entry “In Retreat,” all the Indian films showcased at the festival were led by women. Notably, two of these films, “All We Imagine as Light,” featuring Kani Kusruti, Divya Prabha, and Chhaya Kadam, and British-Indian filmmaker Sandhya Suri’s “Santosh,” starring Shahana Goswami and Sunita Rajwar, were directed by women.
Additionally, Karan Kandhari’s India-UK co-production, “Sister Midnight,” offered a fresh take on the revenge-of-a-woman-scorned narrative, led by Radhika Apte. The film challenged traditional gender stereotypes with its feminist perspective. Meanwhile, “The Shameless,” crafted by a Bulgarian director on Nepalese locations, explored the lives of two sex workers—one scarred by experience, the other a newcomer—attempting to defy societal norms and gender exploitation.
The indie spirit lives on
Major film festivals around the world are often seen as havens for cinematic expressions that challenge established norms and beliefs, and Cannes is no exception. Therefore, when dissident Iranian filmmaker Mohammad Rasoulof risks everything to bring his film “The Seed of the Sacred Fig” to Cannes, a film boldly critical of his country’s theocratic regime, it underscores the festival’s commitment to provocative cinema.
In recent editions, Indian films have consistently shed light on the societal and political issues plaguing the country, from Manto and Masaan to Chauthi Koot, and documentaries like “Invisible Demons,” “A Night of Knowing Nothing,” and “All that Breathes”—the latter two being recipients of Cannes’ prestigious Golden Eye award for best documentary. These films refuse to shy away from tackling contentious contemporary issues head-on.
This year’s selection continues this tradition of non-conformity, addressing a range of pressing themes. From exploring inter-faith love and the challenges faced by outsiders in urban environments (All We Imagine as Light), to examining the influence of caste and religious biases on law enforcement (Santosh), and portraying women’s struggles against societal injustices (The Shameless and Sister Midnight), these films offer bold and unapologetic narratives that challenge the status quo.
The impact of true actors
The standout performers among this year’s Indian contingent at Cannes were female actors who exhibited genuine talent that transcended surface-level appeal. Kani Kusruti and Divya Prabha, portraying the central characters in a Hindi-Malayalam-Marathi film, broke new ground by offering substantial and meaningful roles for women—a rarity in recent Kerala cinema. Kusruti, renowned for her versatility, delivers a stellar performance in All We Imagine as Light, showcasing remarkable depth alongside the equally impressive Divya Prabha.
Equally deserving of praise is Radhika Apte’s portrayal in Sister Midnight. As a newlywed from a small town navigating life in a Mumbai slum, Apte’s performance is nothing short of exceptional. With a blend of precise, almost mechanical movements and the impassive demeanor of a force to be reckoned with, she delivers a truly memorable performance.
Supporting acts matter
Two actors who garnered attention were Chhaya Kadam, featuring in two films, and Sunita Rajwar, who, in Santosh, immerses herself in a role that breaks free from the stereotypes imposed by Hindi cinema and web series. Rajwar, a trained actress from the National School of Drama who commenced her theater journey in Nainital, forms a captivating partnership with Shahana Goswami, who describes herself as an “on-off” actress. Their collaboration offers a delightful fusion of distinct personalities and acting approaches, resulting in a nuanced portrayal of subtle yet poignant emotions.
Chhaya Kadam, known for her roles as Manju Maai in Laapataa Ladies and Kanchan Kombdi in Madgaon Express, continues her streak of captivating performances in All We Imagine As Light and Sister Midnight. She brings unique dimensions to her characters in both films, infusing them with depth and authenticity.
Anasuya Sengupta’s exceptional portrayal of a prostitute evading the law earned her a well-deserved Best Actress award. Her co-star in The Shameless, debutante Omara Shetty, delivers an equally impressive performance as a young woman trapped in a bleak existence, searching for a path to liberation.
The triumph of FTII
Cannes 2024 underscored the excellence of the Film and Television Institute of India (FTII), Pune, as Payal Kapadia, Maisam Ali, and Chidananda S. Naik proudly flew the Indian flag on the Croisette with their acclaimed films. All We Imagine as Light and Sunflowers Were the First Ones to Know… secured significant awards, while In Retreat, as part of ACID Cannes, awaits release in Europe. FTII’s remarkable showing at Cannes follows a string of successes that commenced with Kapadia’s diploma film, Afternoon Clouds, being selected for Cinefondation (now known as La Cinef) in 2017. In 2020, Ashmita Guha Neogi’s film CatDog, another FTII production, clinched the La Cinef first prize, a feat replicated by Naik this year. Furthermore, FTII’s presence in La Cinef continued last year with Yudhajit Basu’s Nehemich. This remarkable achievement serves as a powerful rebuttal to any notion that India’s premier film school is a drain on public resources.
While Chidananda S. Naik’s La Cinef victory garnered attention, it is worth noting the accomplishment of Mansi Maheshwari from the UK’s National Film and Television School (NFTS). Her animated short film, Bunnyhood, secured the third prize in the La Cinef competition. Hailing from Meerut and with a background in knitwear design from the National Institute of Fashion Technology (NIFT), Delhi, Maheshwari’s future in the industry looks promising. Similarly, Upamanyu Bhattacharya from Kolkata, a graduate of the National Institute of Design, is embarking on his debut feature-length animation film, Heirloom. This ambitious project was part of the HAF (Hong Kong Asia Film Financing Forum) Goes to Cannes program, signaling a bright trajectory for Bhattacharya’s career.