Last
Saturday, I was invited to the opening of the first Indian
International Film Festival of Queensland (IIFFOQ). Brisbane has a
large south Asian community and many Indian students at the three big
universities, The University of Queensland, Queensland University of
Technology (QUT), Griffith University and the training institute,
TAFE. That this was the city's first festival celebrating Indian
cinema was a surprise to me.
Chayan
Sarkar (no relation of mine) and I had met only in May. I had grown
tired of meeting people from mining or sales and was looking up
LinkedIn for journalists, filmmakers, artistes and painters when I
stumbled upon his profile. I watched the trailer of his film, The
Sleeping Warrior (2012), which sort of connects some of the dots
between Indian and Aboriginal spirituality. Like most tourists in
Australia, I am very interested in the Aborigines. I wrote to Chayan.
A couple of hours later, he replied, asking me to meet him. At 6.15
pm on that Thursday, we were sitting at The Three Monkeys Cafe at
West End where we discussed, among other things, Bollywood Dreams,
his company that produces, promotes and distributes Indian films. He
talked about his film. I noticed that he used the phrase “the
indigenous people of Australia” instead of “aborigines”.
He
told me that he was launching IIFOQ on June 28. “Wow! That's next
month,” I said. He was trying to put together a nice
collection of Indian cinema, “not Bollywood”, for the audiences
here. The venue would be QUT and he would be supported by the
university's Creative Industries Faculty. (Right in the middle of the
city, the university campus has a mix of heritage and new buildings.
I love their idea of clubbing media studies and fashion technology
under the same faculty. They even have a computer lab with shelves
full of sewing machines!)
Besides
a text message that mentioned that he would be attending the Cannes
Film Festival, I didn't hear much from Chayan after that day. Then
suddenly, last Saturday, I found the invitation to IIFFOQ in my
inbox. We went to the inaugural ceremony. Instead of Bharatnatyam,
they had chosen Mohinipatnam, the classical dance from Kerala, to
begin the function. IIFFOQ was consciously trying to be different.
They had my attention.
After
the introductions of the members, panelists and dignitaries, the
inaugural film, Dum Dum Deega Deega – Dancing in the Rain was
screened. Directed by Ayush Kapur, the 15-minute film is one of the
most powerful, optimistic films from India I have ever seen and
propounds the theory, “The
solution to your problem is often hidden in the problem itself, all
you need is a different outlook.”
Over
the next four days, Manjunath, Mystic Wind (Anjana Batash), Devdasi
Children of Pune, 101 Questions (101 Chodyangal), The Sleeping
Warrior, Deliverence (Bijolibalar Mukti), Bombay Movie, Jhijhak Kaisi
– A documentary on breast cancer, Maa – The Mother, Qissa – The
Tale of a Lonely Ghost, Colour of Sky (Akasathinte Niram), Pinky –
Ek Satyakatha, Not a Fairy Tale (Rupkotha Noy), Once Upon a Time
India and The Well (Vihir) were screened.
A still from Dozakh |
My
pick of the lot was the closing film, Dozakh – In Search of Heaven,
written, produced and directed by Zaigham
Imam. What starts as a regular film about the clash of two cultures
in small-town India, turns into a riveting movie that drives home a
simple point – that you are a human being first and then a man of
faith. A Muslim cleric in a small-town near Varanasi repeatedly
admonishes his son because he has befriended a rival Hindu priest. One day
the son disappears. The cleric realises that he is, first and
foremost, a father who can't bear the separation from his son. When
his son's body is fished out of the mighty Ganges, the heartbroken
father honours his son's last wish and does not bury his body.
He gets it cremated.
I met
Anne Demy-Geroe, the former director of the Brisbane International
Film Festival, after the closing ceremony. She was visibly shaken. “I
am still in shock. A Muslim cremates his son! I never thought I would
see that.” We wondered whether it had been screened in India. It
was, I discovered later, screened at the Kolkata Film Festival, Delhi
International Film Festival, Third Eye Asian Film Festival in Mumbai,
Bangalore International Film Festival and Kolhapur International Film
Festival.
The
only thing the opening chapter of IIFFOQ missed was the audience.
Like all new Indian film festivals in foreign countries that strive
to screen non-Bollywood cinema from India, the organisers at IIFFOQ
did not actively invite Indian audiences (especially college students
on campus) for the screenings. We often tend to forget that most of
us had little to no exposure to films other than the mainstream Bollywood ones till satellite channels arrived India in the 1990s. Festival
organisers often assume that mass Indian film-goers may not be
interested in anything other than song-and-dance films with big
stars. The result: Few 'intellectual-looking' Indians and fewer
non-Asians make up the audience. It's not cross-over. It's a big
mistake. Indian films, whichever category they belong to – parallel, art, short, long, feature or non-feature – are essentially for
Indians. They must be invited to an Indian film fest.
5 comments:
Beautifully written Eisha.
All Queensland uni students were actively invited with comp passes by several volunteers of the festival IIFFOQ obviously the most frequent question was if any Bollywood starts attending.....
Stars or superstars...!
There were students right outside the auditorium who had no clue that a film festival was going on. A little more of signage or publicity may have helped to bring in more people.
Well...good to see the posts after a hiatus. The post just caught my eye since the mail somehow reached the spam. Keep em coming :)
- Varun
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