This year’s Cannes Film Festival drew to a close on 25 May, and it was a proud year for India. became the first Indian filmmaker to win the Grand Prix for All We Imagine As Light . Sunflowers Were the First Ones to Know from Chidananda S Naik, a student from FTII Pune, bagged the La Cinef Award for Best Short.
Kolkata-born won the Un Certain Regard Prize for Best Actress for her performance in The Shameless.
But do these recognitions translate to more screen space in India? Do distributors express interest in acquiring independent films after they are screened in major film festivals like Cannes or Sundance? The Quint spoke to some directors, whose films have travelled to festivals across the world, and distributors to understand the reach these films get.
Being Screened At A Festival Like Cannes Can Be Game Changing For Independent Films, Say Distributors
Producer, distributor and founder of Platoon One Films, Shiladitya Bora, says that it’s much easier for films being screened at a prestigious festival like Cannes to get distributors.
Shiladitya Bora “Being screened at Cannes can be a game-changer for securing distribution. Secondly, if a film wins the coveted competition section, it is like hitting the distribution jackpot. World sales can happen right there, with major players eager to acquire these prestigious movies. Secondly, being selected in Critics’ Week & Director’s Fortnight, helps movies get attention. However, for films playing at the market screenings, it’s all hustle there. One has to be prepared to actively promote and reach out to distributors.”He adds, “In essence, Cannes is a distribution goldmine, but the level of access depends on where your film is placed. Distributors are more eager to pick up those films that are part of official selections.”
When asked whether festival releases help independent films get theatrical releases in India Shiladitya says, “Festival recognition for independent films absolutely translates to a release back home. The buzz from Cannes generates curiosity among the audience. The key is to capitalize on that excitement quickly. You have a limited window of maybe 2-3 months to leverage the festival buzz, so plan in advance.”
Shiladitya explains that a film like Payal Kapadia’s All We Imagine As Light, which has already won the second-highest award at Cannes and is the talk of the town, will get a decent release.
Shiladitya Bora “A festival darling like ‘All That We Imagine as Light’ would definitely get a headstart securing a distributor in India, especially with an award win. However, unlike the US, India doesn’t have a dedicated network of distributors solely focused on independent gems. It’s more audience-driven. If a film captures the hearts of Indian viewers, then its popularity can lead to a wider theatrical run or even a digital platform pick-up.”He also says that the number of screens is also allotted based on what kind of film it is. “Arthouse films typically receive limited screens but a crowd-pleasing festival hit like The Lunchbox will always get a wider release.
A still from All We Imagine as Light.
Speaking about screens Sanjay Ghai, distributor and COO of Mukta Arts, says, “We wait for these festivals to acquire some good films. Films that go to Cannes do manage to get distributors if they are well-received. They can get 50-100 screens across India.”
What Do Filmmakers Have to Say?
Filmmaker Vasan Bala agrees with distributors that getting recognition in festivals like Cannes is a big deal.
Vasan Bala, Filmmaker “It’s a great opportunity and a platform. It definitely attaches a lot of prestige, but ultimately it’s the films destiny on how it will be received. The Lunchbox was a part of the Critics’ Week and not the Competition, but it got the biggest indie release ever. No one knows how it is going to pan out. It’s time to celebrate Payal Kapadia and her team. She has done it on her own might and got funding from various countries.”However, Vasan adds that directors are also mindful of the fact that festival films cater to a specific audience. “When a film goes to a festival, it is curated for a certain kind of audience. When that film comes back to it’s native country, it is also going to be catering to a similar audience or slightly wider. We can’t expect people to show up like they do for a Shah Rukh Khan movie.”
Shaunak Sen, whose film All That Breathes won the Golden Eye at Cannes last year, says that festivals are a good way for independent movies to be seen and heard but when the market is down they take a lot of time to get distributors.
Shaunak Sen, Director “All the big festivals – Cannes, Sundance, Venice, Toronto – attract people from various sectors of the industry, be it sales agents, distributors and so on so forth. Therefore, the chances of a film getting distributed is much higher. For an independent film the best way to announce its arrival to the world is these types of festivals, but with the current market and globally just how bad it is with independent cinema there are no assurances. As we saw last year some films took around two years to get distributors. Nisha Pahuja’s To Kill A Tiger got a distribution literally after an Oscar nomination.”Shaunak further explains that it’s hard to predict which film will get what kind of release. “Some films do get recognition and some do not. A film like Eeb Allay Ooo, which did well in Berlin, got a theatrical run, my film got a theatrical run internationally but not in India. It was picked up by a streaming platform later.”
A still from All That Breathes.
Shaunak adds that a lack of structure in India prevents independent films from reaching a wider audience. “It depends on what that particular country’s appetite for arthouse films is. In India unfortunately we don’t have a dedicated cinema house that focuses on serious arthouse cinema, like many other countries have. To give an example, the Film Forum or Metrograph or IFC in New York. That is the support system we don’t have, making smaller independent films utterly vulnerable to the vagueris of the market.”
