Can(nes) we stop going overboard about Indian films at the festival?

It is that time of the year when our films and filmmakers head to the scenic French town for a bit of the sun and a lot more of the hype. How many of the films that we take to Cannes each year actually end up being recognized as cinema of worth in the international arena?

If the truth be told, Indian cinema remains a bit of a joke in the international arena. We have the regular desi festival junkies visiting Cannes, Berlin, Toronto, etc year after year. And what happens after these films are shown and apparently applauded at these global film festivals (every Indian entry claims to get a standing ovation)? Nothing!

But films do get labeled as ‘festival types’ and actors too get branded as festival regulars. Nawazuddin Siddiqui has rapidly become the festival actor. He was seen at Cannes again this year. All those associated with a ‘festival film’ think they have a great product on their hand while audiences prefer Judwa 8 to Omerta, Heropanti 16 to Masaan, and Golmaal 19 to Titli. That’s the sobering truth all arthouse cinema must live with.

At least Manoj Bajpayee and Nawazuddin have a reputation for being festival-friendly actors. But what are Mallika Sherawat’s credentials for attending the Cannes Film festival year after year? Whom does she represent? Has she ever had a single film of hers shown at Cannes? Does she even qualify as an actor any more?

Besides Ritesh Batra’s The Lunchbox, which Indian film in recent times has made a global impact?

Shekhar Kapur, who is the only Indian filmmaker to make a global impact since Satyajit Ray, thinks India has a long way to go in the Western market.

“I think a global curiosity about Bollywood in the West has existed for nearly ten years. However, that curiosity still remains unexplored by us. I think we’ve a huge amount of filmmaking talent. But they are not provided the right opportunities. The same happened with our very bright scientists who had to go to the US to further their careers. It is changing in other spheres of activity in our country. But not in filmmaking.”

Shekhar feels it is the lack of funds which is the culprit. “There is a reason why China is so far ahead. They aspire to be world class. We don’t.Someone like Anurag Kashyap is defeated by the finances here.The funding here does not allow us to compete with world cinema. Though mind you, when I made Bandit Queen it was done at a really measly budget. I think the problem has been that there are too many of our filmmakers who aspire to genres that do not come naturally to us. Indian filmmakers got very heavily influenced by Mexican films. Because Mexican filmmakers have attained a global recognition that we have not. We are just happy being small players. When our films do 200 crores or 300 crores, we are happy. Everyone congratulates one another. Slumdog Millionaire did 2,000 crores.”

Shekhar agrees the only Indian film in recent times to have a made a global impact is The Lunchbox. “Oh yes, that is an Indian film which got noticed the worldover. Now the director Ritesh Batra is making films from outside India. I believe we’ve chained ourselves by celebrating the Indian market. It is dominated by just a handful of big players. Any business that is monopolized by just a few players cannot grow because there isn’t much innovation or diversity.”

(This was first published in National Herald on Sunday)