Film guide- Cannes International Film Festival

Ministry of Information & Broadcasting
Government of India
Cannes Film Market
India Pavilion
111 International Village Riviera
May 14-24, 2015
www.indiaatcannes.com
in partnership with
Government of India
MINISTRY OF INFORMATION AND BROADCASTING
GOVERNMENT OF INDIA
ROOM NO.107, FILMS WING, SHASTRI BHAVAN
DR. RAJENDRA PRASAD ROAD
NEW DELHI - 110 001 INDIA
Federation of Indian Chambers of
Commerce and Industry
FICCI Federation House, Tansen Marg
New Delhi, India 110001
Tel: +91-11-23738760
www.ﬁcci.com
Directorate of Film Festivals
Government of India
Sirifort Auditorium Complex,
August Kranti Marg, New Delhi- 110049
Tel: 91 11 26499371
www.dff.nic.in; www.ifﬁ .nic.in
in partnership with
FILM GUIDE
INDIA
www.makeinindia.com
INDIAFILMGUIDE2015MINISTRYOFINFORMATIONANDBROADCASTING
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CONTENT
FILMING IN INDIA 151
INDIAN FILM
PRODUCTION CENTRES
INDIAN FILMS AT CANNES
FILM SECTOR
INITIATIVES
25
6911

NATIONAL FILM
AWARDS
INDIAN COMPANIES AT CANNES
FILM MARKET
FILMS FOR
SALES AND
SYNDICATION
KEY INDUSTRY CONTACT LIST 237
75
101 131

Cannes Film Market 5
Message

Message

Foreword

FILM SECTOR
INITIATIVES
Film Policies of the Ministry of
Information and Broadcasting

India Film Guide 2015 12
T
he Ministry of Information and Broadcasting, through
the mass communication media consisting of
radio, television, films, press and print publications,
advertising and traditional modes of communication such as
dance and drama, plays an effective role in helping people
to have access to free flow of information. It is the apex
body for formulation and administration of rules, regulations
and laws for the same. It also caters to the dissemination of
knowledge and entertainment to all sections of the society,
striking a careful balance between public interest and
commercial needs, in its delivery of services. It is responsible
for international cooperation in the fields of mass media, films
and broadcasting and interacts with its foreign counterparts
on behalf of Government of India.
The Mandate of the Ministry Includes
News Services through All India Radio (AIR) and
Doordarshan (DD) for the people including Indians
abroad.
Development of Broadcasting and Television
Development and promotion of film industry.
Organization of film festivals and cultural exchanges.
Advertising and Visual Publicity on behalf of the
Government of India
Administration of the Press and Registration of Books
Act, 1867 in respect of newspapers.
Administration of the Cinematograph Act, 1952 in
respect of certification of films.
SPOT INFORMATION
+ 91 11 23384995
WEBSITE
www.mib.nic.in
EMAIL
moib@nic.in
jsfilms.inb@nic.in
MINISTER FOR
INFORMATION &
BROADCASTING
Shri Arun Jaitley
MINISTER OF STATE FOR
INFORMATION &
BROADCASTING
Col. Rajyavardhan Rathore
SECRETARY
Bimal Julka
JS FILMS
K. Sanjay Murthy
DIRECTOR (DFF)
C Senthil Rajan
Ministry of Information &
Broadcasting
Government of India
Film Sector Initiatives
Ministry of Information and
Broadcasting Government
of India

13Cannes Film Market
Dissemination of information about India within and outside the country
through publications on matters of national importance.
Research, reference and training to assist the media units of the
Ministry to meet their responsibilities.
International cooperation in the field of information & mass media
The execution of the film mandate of the Ministry of
Information & Broadcasting is carried out through
the following bodies
Films Division
Central Board of Film Certification
National Film Archives of India
Directorate of Film Festivals
IFFI Secretariat
Film and Television Institute of India, Pune
Children’s Film Society of India
Satyajit Ray Film and Television Institute, Kolkata
National Film Development Corporation
The Ministry of Information & Broadcasting is
responsible for international cooperation in the
fields of mass media, films and broadcasting and
interacts with its foreign counterparts on behalf of
Government of India.

Single Window for Film
Shooting in India – Film
Facilitation Unit
The Ministry of Information & Broadcasting is in the
process of setting up of a Film Facilitation Unit
A
single window service for promoting
film shooting is all set to become
operational shortly. As part of providing
a single window mechanism for facilitating
shooting in India, the Ministry of Information
& Broadcasting, Government of India is
proposing to set up a Film Facilitation Unit.
The National Film Development Corporation
(NFDC) has been nominated as the executing
agency for setting up of/operating a Film
Facilitation Unit. The primary tasks of the Unit
would be:-
i. Act as a facilitation point for the film
producers in assisting them to procure
requisite permission.
ii. Disseminate information on shooting
locations and the facilities available with
the Indian film industry for production/
post production.
iii. Work closely with State Governments in
assisting them to set up similar facilities.
The Film Facilitation Unit would also develop
a dedicated online portal. The Website will
SEND YOUR APPLICATIONS FOR SHOOTING
FEATURE FILMS/TELEFILMS IN INDIA TO:
DESK OFFICER (FI), A WING, ROOM NO. 107
MINISTRY OF INFORMATION AND BROADCASTING
GOVERNMENT OF INDIA
SHASTRI BHAVAN, NEW DELHI - 110001 INDIA
Email: usfi-moib@nic.in
PH: +91-11-23384995

also include information on state-wise
facilities like transport, hospitality, medical
services and other local information for the
applicants.
After making an application online, filmmakers
can expect clearance anytime from six to eight
weeks, depending on the shooting location --
shooting in border areas usually takes a longer
processing time due to security reasons. The
filmmaker would submit the script to the
Ministry of Information & Broadcasting for
clearance as before.
Effectively, the single window system for
film shoot permission will enable filmmakers
to pursue their respective cases with the
Ministry of Information & Broadcasting and
not deal with various Ministries, departments
and agencies.
The Ministry of Information & Broadcasting is in
the process of setting up the Film Facilitation Unit
which will also include an online portal which will
be the resource base and also answer queries of line
producers and film producers.

I
ndia has signed Audio-Visual co-
production agreements with the UK,
Canada, Germany, Brazil, Italy, Spain,
Poland, China and New Zealand. We have an
existing Protocol with France. Negotiations
are on to finalise Co-Production treaties with
Korea, Australia among other countries. These
agreements are expected to help producers to
pool in their resources and gain wider market
accessibility.
It is now possible for filmmakers of different
countries to come together and make films
under bilateral co–production agreements.
Newmarketsandaudienceswouldbeavailable
for the product, especially if collaborations
and partnerships are between nationals of
different countries.
Each agreement identifies the Competent
Authority for the country concerned to whom
applications are made for approval as co–
production and other purposes. In India, it is
the Ministry of Information and Broadcasting,
Government of India.
TheAgreementsidentifywhotheco-producers
canbe,theminimumandmaximumpermissible
share of each co producer, possibility of co
producers from third countries, provisions
for sharing of revenue, copyrights and prizes.
They also provide for contribution by the co-
producer of each country and incurrence of
production and post-production expenses,
shooting etc in each country for artistes.
Many countries provide access to public funds
or subsidized funds to filmmakers. The films
co-produced under these agreements are also
eligible for such financing. Collaborations for
an Indian filmmaker would include knowledge
and use of different technical expertise and
processes, exchanges of styles of filmmaking,
sales and distribution of films by a local expert
and the advantages of being a National Film in
a European country. This will come along with
the international exposure the project would
receive in terms of publicity and audience.
The Government of India does not provide
directpublicfundsorsubsidizedco-production.
However, filmmakers can apply for financial
support of co-production film projects through
National Film Development Corporation.
di h i d A di Vi l
p
t
G
T
c
s
p
f
T
Audio Visual Co-Production
Agreements
It is now possible for filmmakers of different countries
to come together and make films under bilateral
co-production agreements.

India has a huge advantage of being part of
a growing film industry and a huge audience.
The other benefits are that the co-production
is treated exactly like a national film and is
eligible for the National Film Awards and
the Indian Panorama section of IFFI. Also,
co-production opens up the Indian consumer
market to the foreign producer.
There is a large pool of technical talent
available across the sub-continent along
with the sophisticated infrastructure and
equipment needed for filmmaking. These are
coupled with the comparatively low costs of
filmmaking in India. Also India possibly has
the largest variety of locations available in one
country – from snow clad mountains to hills
and valleys, rivers, seas and beaches to green
pastures and deserts. An extensive road, rail
and air travel network exists. The television
and cable penetration is also very deep.
Text of India’s co-production agreements:
p. 179 onwards
Co-production agreements help
producers to pool in their resources
and gain wider market accessibility.

S
oon, India will have an updated and
contemporary Cinematograph Act.
Government is proposing to bring in
amendments to the existing Cinematograph Act
with a view to enable the Act to meet the modern
requirements of certification process. Duly taking
into consideration recommendations of experts
and stake holders, the amended Act is expected
to address, among others, the following :-
Composition of Advisory panels and their
selection process;
Guidelines for certification;
Classification of certification of films in a
more modern and universal manner;
Enhancing the jurisdiction of the Appellate
Tribunal.
Bringing in stringent penal provisions for copy
right violations.
Stringent Penalties for piracy
Piracy is one of the major concerns of the film
industry. The proposed amendment seeks
to address this issue effectively by bringing
in stringent penal provisions for copy right
violations.
Online Certification Process- The existing online
mechanism of Central Board of Film Certification
wouldbestrengthenedandtheentirecertification
process right from application stage to issuance
of certificate, would be made online. This
would ensure a user friendly and transparent
atmosphere. The online process would also
ensure effective monitoring and timely delivery
of service.
New Cinematograph Act
The Government is set to amend the Cinematograph
Act 2052, to enable it meet the present day challenges
and make the entire certification process transparent
and speedy

M
inistry of Information &
Broadcasting’s proposals for carrying
out an Anti-Piracy Initiative in the
audio-visual sector.
Dissemination of multi-media campaigns on
piracy through audio-visual media, internet,
print media, etc.
Training programmes and workshops to
sensitize police, judicial, administrative
ofﬁcials, multiplex and cinema hall owners
about the Copyright Act.
Conduct of research on the effects of
piracy and to enable development as
well as implementation of public-private
strategies to combat piracy.
A dedicated web portal.
Production of a ﬁlm/documentary.
Engaging with M/o HRD with the goal of
including anti-piracy awareness material
in the curriculum of the schools and
colleges.
Road shows /Street Plays on creating
awareness among society.
Programme on building awareness in
Schools & Colleges through Debate/Essay
writing/painting competitions.
This scheme will be implemented through
leading business chambers like FICCI,
ASSOCHAM, CII and others.
Taking piracy out
of Indian cinema
The Indian government has been taking a lot of
initiatives to do away with piracy.

T
he National Museum of Indian Cinema
is a prestigious project of the Ministry
of lnformation & Broadcasting, Govt.
of India and is executed by Films Division, the
premium media unit of the Ministry.
The "National Museum of Indian Cinemas" will
not only provide a store house of information
to the laymen but it will also help film makers,
film students, enthusiasts and critics to know
and evaluate the development of cinema as
a medium of artistic expression not only in
the country but also in all parts of the world.
The Museum is developed in two phases. The
Phase-I is housed in Gulshan Mahal a heritage
building and the Phase-ll is a new building
adjoining Culshan Mahal which will have two
state-of the art theatres apart from display
galleries. The Phase-l is ready and Phase-II
will be ready by the end of 2015.
The museum will be a ready-reckoner of
the history of Indian cinema showcasing
technological aspects of production and
National Museum of
Indian Cinema
The museum will be a ready-reckoner of the history of
Indian cinema during the past 100 years.
The Purpose and Objectives of the Museum
aretoencapsulatethesocio-culturalhistory
of India as revealed through the evolution
of cinema; To develop as a research centre
focusing on the effect of cinema on society;
To exhibit the work of the noted directors,
producers, Institutions etc for the benefit
of visitors/film enthusiasts; To arrange
seminars, workshops for filmmakers & film
students; To generate interest in the future
generation in the field of film movement.

screening of films, as well as its social
aspects during the past 100 years. Through its
interactive galleries, it will trace the evolution
of celluloid from the Lumiere Brothers, Raja
Harishchandra onwards, and showcase Indian
cinema in three stages - silent era, golden
era and the modern era. It will portray the
footsteps taken by Indian cinema, from the
period of silent films to the studio period, and
then recreate the times when stars and mega
stars dominated the silver screen.
An Advisory Committee headed by renowned
filmmaker Shyam Benegal has guided the
Films Division in establishing the museum.
Visitorscanalsowatchclipsofoldclassicsona
number of monitors or listen to rare film music
from the past. There is also an interesting
collection of posters of landmark movies from
across India. A section on regional cinema is
also on display.
Many famous studios of yesteryears like
Mehboob Studios, RK Studios and Prasad
Studios have donated equipment to the
museum. Some private collectors too have
come forward to donate items. The Films
Division, which was set up in 1941, to produce
short films to disseminate information during
war time, has also displayed old Eymo and
Mitchelcameras,recordingequipmentetc.Also
of interest are some even older instruments
that created an illusion of movement, which
were precursor to the movie camera.
NMIC has been curated by the National
Council of Science Museums, Kolkata, under
the Ministry of Culture, which manages
55 various kinds of museums in the country.

T
he Ministry of Information &
Broadcasting has launched the National
FilmHeritageMission(NFHM)todigitize
best of Indian cinematic works and archive
them for the benefit of future generations.
NFHM is now functional to take care of
digitization and restoration of film heritage
and is being implemented by National Film
Archive of India, Pune.
NFHM’s aim is to restore and archive films for
preservation and dissemination of Indian film
cultural heritage. It will restore and conserve
precious and classic films of the past 100
years of Indian cinema.
NFHM will also conduct training, workshops
and courses in field of conservation,
preservation and archiving in co-ordination
with international agencies that are experts in
this field.
The following are the objectives of the NFHM:
To undertake film condition assessment of
the film collection and to ascertain the left
over life of the film.
Preventive conservation of film reels.
2k/4k picture and sound restoration of
landmark feature films and shorts of
Indian cinema and recording of new
picture and sound inter-negatives of each
film.
Digitization of feature films and shorts.
Construction of archival and preservation
facilities for preservation of material
restored under NFHM in dust free, low
humidity, and low temperature conditions
at NFAI campus, Pune.
NFHM’s aim is to restore and archive films for
preservation and dissemination of Indian film
cultural heritage. It will restore and conserve
precious and classic films of the past 100
years of Indian cinema.
National Film
Heritage Mission
National Film Heritage Mission’s aim is to restore and
archive films for preservation and dissemination of
Indian film cultural heritage.

T
he National Centre for Excellence in
Animation, Gaming and Visual Effects
is soon to be established through the
public-private partnership mode for providing
skilled workforce for the industry.
The National Centre for Excellence would
establish and implement benchmarks in
teaching and training standards of this sector
and provide leadership role to the whole
industry.
The centre aims to become a self sustainable,
creativity driven and industry friendly institution
that promotes high quality education and
research
With an intention to provide skilled work force,
it aims to offer a competitive edge to Indian
Industry by developing skills for original IP
content.
Since the successful students would be working
in the industry, the latter will be in a position to
take up Co-Production projects in collaboration
with foreign companies. Besides, the proposed
centre will provide research platform for
projects.
It will also enable and facilitate access to
resources for students to learn and develop
their creative and cognitive skills. Regular
interactions will be conducted with the
academia, private and corporate community to
create synergies.
Flexible and innovative education structure
will be devised to enhance creativity and
commitment that curriculum will be at par with
the Global Standards. The centre wil provide
continuous support to animation, gaming &
visualeffectscommunitytoprovideHR(efﬁcient
human resource) platform for related projects
Above all, it will act as an incubation center
for developing competencies and support
commercial ventures. It will also engage
private players in appropriate roles involving
active participation resulting in growth of the
institute.
Towards maintaining high standards in
imparting education in the ﬁeld of animation,
gaming and visual effects as well as bringing in
best administrative practices, it is proposed that
the centre would be set up with the help and
support of the industry and other stakeholders.
National Centre for
Excellence in Animation,
Gaming and Visual Effects
The National Centre for Excellence will establish and
implement benchmarks in teaching and training stan-
dards of the sector and provide a leadership vision to the
whole industry.

INDIAN FILM
PRODUCTION
CENTRES
Top ﬁlmmaking centres of India

26 India Film Guide 2015
INDIA FACTS
THE OFFICIAL PORTAL
http://india.gov.in
CAPITAL
New Delhi
POLITICAL SYSTEM
Democracy
ADMINISTRATIVE
DIVISIONS
29 States and
7 Union Territories
POPULATION
1.2 billion
LANGUAGES
Hindi, English and 21 other
national languages.
AREA
India measures 3,214 km from
north to south and 2,933 km
from east to west with a total
land area of 3,287,263 sq km.
CLIMATE
Southern India enjoys tropical climate but northern India
experiences temperatures from sub-zero degrees to 50 degrees
Celsius. Winters in northern India are usually during December
to February while spring blossoms in March and April. Monsoons
arrive in July and stay till September, followed by autumn in
October and November.
Indian Film Production Centres

CURRENCY
Rupee
TELEPHONE CODE
+91
TIME ZONE
IST
INTERNET
.in
AIRPORTS
The Airports Authority of India (AAI) manages a total of
125 Airports.
INTERNATIONAL AIRPORTS
Ahmedabad, Amritsar, Bengaluru, Calicut, Coimbatore, Chennai,
Gaya, Goa, Guwahati, Hyderabad, Imphal, Jaipur, Kochi, Kozikhode,
Kolkata, Lucknow, Mumbai, Mangalore, New Delhi, Nagpur, Port
Blair , Srinagar, Thiruvananthapuram,
Varanasi, Tiruchirapalli, Visakhapatnam
RAILWAYS
The Indian Railways network is spread over 64,000 km, with
12,000 passenger and 7,000 freight trains each day from 7,083
stations plying 23 million travellers and 2.65 million tonnes of
goods daily.
ROADWAYS
India has the second largest road network in the world of over
4.1 million km.

CUTTACK

I
ndia is probably the world’s most
culturally and linguistically diverse
nation. Its people speak 22 different
languages, besides hundreds of dialects. Is it
any wonder then that India is a land of many
distinct cinematic traditions?
The1000-oddmoviesthatthecountryannually
produces are made in a number of languages,
each with its own distinct literature, history,
theatre and music.
Indian films are produced in several centres
around the country. Each of these filmmaking
cities serves as the hub of cinema in one
prominent language.
Mumbai, regarded as India’s movie capital,
hosts the Hindi film industry that has a pan-
Indian footprint. Marathi-language films are
also produced in the city that is inextricably
intertwined with the history of Indian cinema.
Chennai, Kolkata, Hyderabad, Thiruvanan-
thapuram, Bangalore, Bhubaneswar and
Guwahati are the other major Indian cities
where films are produced.
While the distribution of these so-called
‘regional’ films is largely limited within the
territories for which they are made – they do
not have the nationwide reach of Bollywood
blockbusters – they add immensely to the
depth and range of Indian cinema.
Text: Saibal Chatterjee
FILMMAKING
CENTRES OF
INDIA

India is the largest film producing
country in the world and its output
has a global reach. Here are top
filmmaking Indian cities which
serve as the hub of cinema in their
respective regional languages.
India is the largest film producing
country in the world and its output
has a global reach. Here are top
filmmaking Indian cities which
serve as the hub of cinema in their
respective regional languages.
Indian films are produced in several centres
around the country. Each of these
filmmaking cities serves as the hub of cinema
in one prominent language

AlargechunkoftheHindifilmsproducedin
Mumbaiconstitutewhatisusuallydescribed
asBollywood,alabelusedforacinematic
traditionbuiltonacrowd-pleasingmixof
melodrama,romance,moralconflictandmusic.
Mumbai
Maharashtra
T
he bustling western Indian metropolis is
the heart of the Indian movie industry,
producing nearly 200 films a year in the
Hindi language.
It also, along with the nearby city of Pune,
produces Marathi-language films, which, in
the silent era and beyond, thrived in the hands
of pioneering stalwarts like V Shantaram and
Bhalji Pendharkar, among others.
A large chunk of the Hindi films produced in
Mumbai constitute what is usually described
as Bollywood, a label used for an old cinematic
tradition built on a formulaic and crowd-
pleasing mix of melodrama, romance, moral
conflict and music.
This extravagant form of storytelling is
extremely popular in the other filmmaking
centres as well. However, it is by no means
the only kind of cinema that emerges from
Mumbai.
The city has always had two distinct streams
of filmmaking – one aimed at providing glitzy
and emotionally satisfying entertainment to
the masses; the other designed to appeal to a
niche audience with a taste for more realistic
movies.
There have of course been occasions when
these two separate approaches have merged
in the same film and resulted in timeless
classics such as Mother India, Mughal-e-
Azam, Deewar and Lagaan.
The A-list Mumbai cinema stars, objects of
adulation around the country and by the Indian
Diaspora, power the mainstream Bollywood
industry.
Mumbai played a key role in the evolution of
parallel films in the late 1960s and 1970s,
thanks to the efforts of directors like Shyam
Benegal and Govind Nihalani.
Its filmmakers also drove the global spread of
the Bollywood narrative idiom in the aftermath
of major commercial successes in the past
decade and a half.

Tamil cinema has a following not only in the
state of Tamil Nadu but also in the other
southern states of India, besides among
the Tamil expatriate community
across the world.
Chennai
Tamil Nadu
C
hennai (formerly Madras) is home to
the hugely successful and productive
Tamil movie industry, which has, over
the decades, given Indian cinema a few of its
biggest and most abiding stars.
The Tamil movie industry has seen film
production since the mid 1910s. It has
constantly kept pace with the growth of the
rest of Indian cinema.
In fact, at several junctures in its history,
it even set the pace for others to follow,
especially in matters of technology and film
production practices.
Tamil cinema has a following not only in the
state of Tamil Nadu but also in the other
southern states of India, besides among
the Tamil expatriate community across
the world.
Hindi versions of Tamil box office hits as well
as bilingual productions mounted in Chennai
have been successful around India ever since
1948’s Chandralekha opened the sluice-gates
for nationally distributed films from this part
of India.
The dominant strain of Tamil movies, like that
of Hindi popular cinema, hinges on the crowd-
pulling power of its male superstars, notably
veterans Rajinikanth and Kamal Haasan.
But in the past as well as in recent times, the
industry has seen a steady output of films
from young directors working outside the
conventional star system with great success.
For audiences around the country, Mani
Ratnam, who also makes films in Hindi, is one
of the better known Chennai directors.

It is a tradition that dates back to the silent
era, a period during which Bengali cinema,
unlike other cinemas that were beginning
to take roots in that period, produced social
satires and dramas adapted from literary
works rather than mythological epics.
Kolkata
West Bengal
B
engali-languagecinema,knowntheworld
over for the celebrated masterpieces of
Satyajit Ray, is produced in Kolkata from
studios located largely in Tollygunge in the
city’s southern suburbs.
Many of the pioneers of early Indian cinema
worked in this city in the silent era. In fact,
Hiralal Sen is known to have made films here
well before India’s officially recognized first
full-fledged fiction film, D.G. Phalke’s Raja
Harishchandra, was screened in Mumbai.
Commercial Bengali cinema has thrived right
since the silent era, barring a few troughs in
the 1980s and 1990s caused by the death of
its most luminous superstar Uttam Kumar
and the retirement of his on-screen partner
Suchitra Sen.
But it is for the critically acclaimed works
of three masters – Ray, Ritwik Ghatak and
Mrinal Sen – that Kolkata enjoys global fame.
Directors such as Tapan Sinha and Tarun
Majumdar built their careers around films that
struck a fine balance between artistic merit
and commercial potential.
More than their counterparts in any of the other
film production centres of India, screenwriters
and directors in Kolkata, especially those that
work in the non-mainstream sphere, continue
to draw inspiration primarily from literature.
It is a tradition that dates back to the silent
era, a period during which Bengali cinema,
unlike other cinemas that were beginning
to take roots in that period, produced social
satires and dramas adapted from literary
works rather than mythological epics.

On several occasions in the last decade,
Telugu films accounted for more releases
in a year than cinema in any other Indian
language, including Hindi.
Hyderabad
Andhra Pradesh
H
yderabad is the hub of Telugu cinema,
which is one of the most prolific and
commercially consistent of all the
cinemas of India.
Between Telengana and Seemandhra, the two
separate states that the erstwhile Andhra
Pradesh has recently been split into, there are
2800 movie halls, the highest in any single
region of India.
On several occasions in the last decade, Telugu
films accounted for more releases in a year
than cinema in any other Indian language,
including Hindi.
Many big-budget Hindi and Tamil films
are official remakes of Telugu hits, a sure
measure of the mass appeal of movies made
in Hyderabad.
In terms of artistic quality and global
recognition, Telugu cinema may lag behind
films made in Malayalam and Tamil, but it
continues to be the most robust of the southern
industries.
Hyderabad has some of India’s best film
production studios. They have been set up
by established names of the Telugu movie
industry – men such as B. N. Reddy, L.V. Prasad,
Akkineni Nageswara Rao and D. Rama Naidu.
Until about three decades ago, large sections
of the Telugu movie industry operated out of
Chennai. But today, Hyderabad is where all the
Telugu moviemaking action is focused.

When the movie industry in this part
of the country took off in the 1950s, it not
only quickly caught up with the rest of
Indian cinema, it also established itself at
the forefront of the Indian parallel
cinema movement.
Thiruvananthapuram
Kerala
T
hiruvananthapuram (formerly
Trivandrum) is the capital of the
southern Indian state of Kerala. The city,
along with Kochi, serves as the nerve-centre of
cinema in Malayalam.
Although films were made in the state in the
silent era, cinema in Kerala was late to flourish
and at the time of India’s Independence in
1947, only a handful of Malayalam films had
been produced.
But when the movie industry in this part of the
country took off in the 1950s, it not only quickly
caught up with the rest of Indian cinema, it
also established itself at the forefront of the
Indian parallel cinema movement.
Malayalam movie superstars Mohanlal and
Mammootty are known across the country
and directors such as Adoor Gopalakrishnan
and Shaji N. Karun and the late G. Aravindan
are feted at film festivals around the world.
When Malayalam cinema began to assume
the proportions of a full-fledged industry
post-Independence, it was headquartered in
Chennai. It was only by the late 1980s that
it moved completely to its current location in
Thiruvananthapuram.
Like the other cinemas of India, Malayalam
movies are divided between a popular genre
and a socially relevant strand.
Cinema from Kerala gained national and
international prominence, riding on the films
made by Adoor and Aravindan in the 1970s
and 1980s. The tradition of making realistic
and meaningful cinema continues to this day.

The 1950s marked the advent of
Dr. Rajkumar, whose popularity
as a lead actor in mythological epics helped
Kannada cinema achieve new heights.
I
n Bangalore, India’s Silicon Valley, films
are made in the Kannada language. The
first Kannada film was made in the talkie
era, and the industry’s growth was steady until
the late 1940s.
The 1950s marked the advent of Dr.
Rajkumar, whose popularity as a lead actor
in mythological epics helped Kannada cinema
achieve new heights.
The 1970s and 1980s are generally regarded
as the golden era of Kannada cinema, which
was enriched by the work of directors like B.V.
Karanth, Girish Karnad and Girish Kasaravalli.
In 1970, Samskara, based on a novel by
celebrated writer U.R. Ananthamurthy and
directed by Pattabhi Rama Reddy, inaugurated
the parallel cinema movement in Karnataka.
While alternative cinema has continued to
thrive in the state, commercial cinema, too,
has sustained itself despite not quite enjoying
the financial clout of Tamil and Telugu films.
Bangalore
Karnataka

Bhojpuri cinema, which also caters to third
and fourth generation migrants in Surinam,
Mauritius, Trinidad & Tobago, Fiji and Guyana,
has its own star system and a committed
audience base.
T
he central Indian city of Lucknow is
the base of Bhojpuri cinema, which is
produced largely in and for eastern Uttar
Pradesh and western Bihar.
The first-ever Bhojpuri-language film, Ganga
Maiyya Tohe Piyari Chadaibo (Mother Ganges,
I Will Offer You a Yellow Sari), was released
only in the early 1960s. But the industry grew
steadily as the demand from people who speak
the dialect in India and elsewhere increased.
Bhojpuri cinema, which also caters to third
and fourth generation migrants in Surinam,
Mauritius, Trinidad & Tobago, Fiji and Guyana,
has its own star system and a committed
audience base, but it has failed to build on
the opportunities to break into the national
mainstream.
The last couple of decades have seen a major
spurt in the production of Bhojpuri films, but
these have all been run-of-the-mill potboilers
designed for an audience that seems to be
undemanding and easy to please.
In parts of India where Bhojpuri speakers
live and work, these films continue to be
exceedingly popular. But since most of these
films are made on tight budgets and follow
rushed production timelines, they tend to be
rather low on technical finesse.
Lucknow
Uttar Pradesh
Patna
Bihar

Odia cinema developed its own idiom
thanks to the efforts of Gour Prasad Ghosh
and Parbati Ghosh. The duo produced
several National Award-winning films,
including the epochal Kaa.
I
n the eastern Indian state of Odisha,
films are made in Bhubaneswar and
Cuttack.
The first Odia-language film was made in
1936, but until the 1950s only a handful of
more titles were produced.
Back then, the Odia film industry did not have
production facilities of its own. Films in the
language had to depend on Kolkata, which made
movie-making in Odisha difficult and unviable.
In the late 1950s, the first cooperative venture
to produce, distribute and exhibit Odia films was
set up by Krushna Chandra Tripathy.
The organization was named Utkal
Chalachitra Pratisthan, and it produced
several films in the 1960s that gave Odia
cinema a distinct identity.
In 1961, another production house, Pancha
Sakha, was set up by amateur artiste Dhira
Biswal, who produced four hugely popular
films. His first production, Nua Bou, created a
sensation all across the state of Odisha.
Odia cinema developed its own idiom in
subsequent years thanks to the efforts of the
husband-wife team of Gour Prasad Ghosh
and Parbati Ghosh. The duo produced several
National Award-winning films, including the
epochal Kaa.
Other production houses took roots in the
1970s, including Diamond Valley Productions,
set up by entrepreneur Sarat Pujari.
In 1975, the state government stepped in to
promote cinema by setting up the Odisha Film
Development Corporation. Five years later,
the Kalinga Studio came up with the support
of Chennai’s Prasad Studios.
Odisha currently produces an average of
20 films a year.
Bhubaneswar
Odisha

At the turn of the millennium, a ray of
hope had emerged in the form of a spurt in
Bollywood-inspired Assamese melodrama
that found takers among the mass audience.
A
ssamese films, produced in north-
eastern Guwahati, are a constant
presence in India’s National Awards.
Yet the film industry in Assam remains
commercially unviable.
Constantly under the shadow of Bollywood
films, the state has not been able to develop
a distribution and exhibition system that can
prop up locally made films and make them
viable.
At the turn of the millennium, a ray of
hope had emerged in the form of a spurt in
Bollywood-inspired Assamese melodrama
that found takers among the mass audience
in the state. But the trend was short-lived.
Despite the effort of the pioneers and the
work of their successors in the 1950s and
1960s (Bhupen Hazarika, Nip Barua, Pudum
Barua), Assamese cinema has been dragged
down by the paucity of exhibition outlets.
Despite all the odds, the names of the late
author and filmmaker Bhabendra Nath Saikia
and the still-active Jahnu Barua shine bright.
Guwahati
Assam
And there is more…
Besides the above production centres, films are made in Manipuri in
Imphal, in Gujarati in Ahmedabad, and in Punjabi in Chandigarh. Indian
films are also made in numerous dialects.

INDIAN FILM
SECTOR
Higlights from
FICCI-KPMG Report 2015

Indian Film Sector Highlights
2
014 could well be termed as the year of
‘introspection and reality check’ for the
Indian film industry. During the year,
the gap between box office collections of the
top 10 films and the contribution of the rest of
the industry widened further. The category-A
films with top league actors continued to
perform well at the box office, however the
same was not true for films which lacked
both strong content and a top league actor
to attract audiences to the theatres. Industry
discussions indicate that 2014’s content did
not deliver at par with 2013. While there were
strong content driven films this year which
delivered high returns on investment, the
proportion of such films was less than the
previous year. With rising average ticket prices
and availability of alternate entertainment
platforms, the audience today seems to have
become more discerning when it comes to
watching films in theatres.
Television broadcasters became more
strategic with their film acquisition budgets,
significantly impacting the Cable & Satellite
rights (C&S) of most films. While prices of
category-A films continued to hold ground,
the rest of the films took a beating either in
terms of price or ability to sell the title. There
were very few bulk deals and certain films,
despite crossing INR1 billion at the box office,
were unable to find buyers.
The exhibition sector took bold strides in
expanding its footprint – both organically
and through acquisitions. Many players have
adopted the organic route to build presence in
new markets, especially in the tier II and
tier III cities. The year also saw changes to
the list of the largest exhibition chains with the
emergence of a new player, Carnival Cinemas.
Carnival acquired three cinema chains-
HDIL Broadway, Big Cinemas and Stargaze
Entertainment. Further, consolidation has
brought multiple benefits to the otherwise
fragmented industry.
Now, film makers have a wider reach and at
the same time interact with relatively lower
number of exhibitors. The industry is soon
expected to see national distributors playing a
fargreaterroleinreleaseofafilm.Additionally,
consolidation is stimulating growth in the in-
cinema advertisement platform. Advertisers
are now offered a far greater reach and
Films: New Growth
Prospects
With rising average ticket prices and availability of
alternate entertainment platforms, the audience today
seems to have become more discerning when it comes
to watching films in theatres

impact with national chains having a pan India
presence. The industry is witnessing changes
in in-cinema advertisement business models
with contracts shifting from ‘lump sum’ deals
to ‘pay per contact’ which is considered as a
bettermetricformeasurementoftheefficiency
of the medium.For exhibitors the obvious
benefit of economies of scale is being reflected
through rationalisation of cost structures.
The industry (production houses) needs to
take a step back and deliberate on how it can
address the fundamental issues plaguing the
profitability of the sector and what measures it
can take to build sustainable business models.
The lack lustre performance of the two key
revenue segments for the industry: theatrical
and cable and satellite rights has sent many
film makers back to their drawing boards to
reassess the viability of their future projects.
Film industry performance
Revenues (INR
Billion)
2014 2015p 2016p 2017p 2018p 2019p CAGR
2014-19
Domestic Theatrical 93.5 99.9 113.6 123.5 133.7 145.1 9.2%
Overseas Theatrical 8.6 9.6 10.9 11.9 12.9 13.9 10.1%
Home Video 1.2 1.0 0.9 0.8 0.7 0.6 -12.2%
Cable & Satellite
Rights
14.7 15.5 17.6 19.2 20.8 22.5 8.8%
Ancillary Revenue
Streams
8.4 10.3 12.5 15.4 18.3 21.8 21.0%
Total 126.4 136.3 155.6 170.7 186.3 204.0 10.0%
Source: KPMG in India analysis

INDIAN M&E
INDEX
$1.5
billion
1500
826
161million
2014
Box Ofﬁce
Collections
275million
Internet
User base
175 million
Mobile
Internet Users
Feature ﬁlms
produced in India
960 million
Mobile Subscribers
TV Channels
TV Households
“When you look at the
world—and pick your
markets—you have to
believe India is one of
the major markets of the
1st century”
Bob Bakish, president
of Viacom International
Media Networks
India has 7 screens
per million people in
comparison with
125 per million in the US.
“Bollywood is India’s
biggest cultural
entertainment export”
Grammy-nominated DJ
and producer Paul van
Dyk
TV revenue in India is
set of to grow at a 14%
annual CAGR in the
years 2014 through 2018
according to KPMG

INDIAN M&E
INDEX
14%
Television
Grew by
18%
Radio
Grew by
13%
Animation&VFX
Grew by
45%
Digital Advertising
Grew by
10%
Films
Grew by
8%
Print
Grew by
22%
Gaming
Grew by
Facebook has 125
million users in India,
more than 100 million
utilise the platform on
their mobile phones at
least once a month.
India will surpass the
US to lead as the largest
Facebook user base on
mobile by 2017
Currently there are 175
million mobile Internet
users in India. It is
expected to grow to 457
Million users by June
2019 according to KPMG
338% growth in
ecommerce ad-spends
(INR 5 bn) on digital
platforms
Search and display lose
share to Social (18%),
Mobile (14%), and
Video (12%)

T
he Indian film production landscape is
highly fragmented with a combination of
fewrenownedindigenousfilmproduction
houses, international studios and numerous
independent film producers.
The industry has witnessed the entry of new
players such as Multi Screen Media (under the
banner MSM Motion Pictures) in 2013 and Zee
Entertainment Enterprises Ltd. (through its
company Essel Vision Productions) in 2014.
The entry of international studios such as
Disney India, Viacom 18 Motion Pictures and
Fox Star Studios in the last few years seems
to have made the industry more organised
in the way films are produced in India by
bringing in leading industry practices of film
production from western markets, thereby
increasing efficiency and placing greater focus
on pre-production activities such as concept
development, audience research, etc.
Even many of the traditional family run
production houses now seem to understand
the importance of bringing in processes and
structuretothemoviemakingbusinessandhave
upped their act to become more professional
and corporatised in their operations.
Increasing corporatisation and professionalism
in the film fraternity has started to pave way for
the establishment of film and entertainment
focussed investment funds. 2014 saw launch
of four new venture funds focussing on this
industry.
The four new venture funds are Indus Media
Capital, HBS Raksha Movies Fund, Bend it Media
and Third Eye Cinema Fund (TECF).
Production
Increasing corporatisation and professionalism in the
Indian film fraternity has started to pave way for the
establishment of film and entertainment focussed
investment funds

D
igitisation of screens has allowed
distributors to release films
simultaneously across thousands of
screens, as a result of which almost 60-80 per
cent of theatrical revenues are now collected
in the first week of release,06 compelling
filmmakers to generate enough buzz to attract
maximum footfalls within the first weekend
itself.
Thus, marketing budgets which were negligible
a decade back, now account for a significant
portion of the overall cost of production.
Additionally, film makers now have an
elaborate mix of marketing media: television,
print, radio, OOH, in-cinema advertisements,
social media, live events, merchandising,
mobile apps, mobile games, and other digital
media at their disposal, the judicious use
of which is critical to create the maximum
possible impact. Like box office collections,
the number of tweets, Facebook likes and
YouTube hits have also become an important
key performance indicator (KPI) for the movie
success.
Film-based mobile applications and games
have become an emerging trend while city-
wise marketing campaigns have almost
become the norm. Given the varied number
of marketing and promotional avenues, the
huge P&A (Print and advertising) costs are
becoming a challenge for films with tight
budgets as there is a minimum spend required
to reach a threshold audience base. P&A cost
for a Category A film (released across 3000+
screens) can be anything above INR200
million, for a Category B film it could range
between INR 150-180 million and for a
Category C film at least INR 100 million.
Given this backdrop, many filmmakers have
started exploring campaign and box-office
analytics to gauge the effectiveness of their
campaign and take appropriate measures to
maximise the return on investments. Various
firmssuchasIBM,PersistentSystems,Google,
Prime Focus Technologies mGage, Ormax etc.
are now offering solutions especially designed
for the filmmakers to make strategic decisions
about their budgets, conduct costbenefit
analysis with minimal risks, measure audience
engagement across various touch points.
The release window continues to play an
important role in deciding the release strategy
foranyfilm.Thefilmmakersconsciouslydecide
to release their films during festivals,long
weekends and summer/winter vacations
(school breaks), etc. and avoid clashes with
any major sporting events. For example, only
two out of the 20 movies that were released
during the IPL 2014 performed well at the box
office.
Distribution
Like box office collections, the number of tweets,
Facebook likes and YouTube hits have also become
an important key performance indicator (KPI) for the
movie succes

2
014 saw another round of consolidation
with Carnival Cinema’s entry into the big
league through three major acquisitions:
HDIL Broadway (10 screens), Reliance owned
Big Cinemas (252 screens), and Stargaze
Entertainment from Network18 Media11 (30
screens).Otherprominentacquisitionsincluded
Inox Leisure Ltd. acquiring Satyam Cinemas12
(38 screens) and Cinepolis acquiring Fun
Cinemas (83 screens). Post consolidation, PVR
Cinemas continues to be the leading exhibitor
with 462 screens followed by Inox Leisure
Ltd. with 365 screens and Carnival Cinemas
with 330 screens. The industry might witness
another round of consolidation soon with the
major multiplex chains acquiring smaller
regional chains.
Even though India leads the world average in
terms of movies produced each year, the gross
under penetration of screens continues to be
a cause of worry for the industry as domestic
theatricals is the primary source of monetising
content for most films. There are just 7 screens
per million people in India, unlike in the U.S.,
where there are 125 screens per million
people.
Additionally, the screen distribution is also
skewed in favour of urban centres. Mumbai
and Delhi/UP circuit together constitute
approximately 60 per cent of the total box
office collections for most Hindi films.
Thus, besides inorganic growth, many
exhibitors are also investing in organic
expansion especially in tier 2 and 3 cities to
capitalise on the opportunity of lower screen
penetration. During the year, leading multiplex
chains added close to 100 screens. Carnival
Cinemas has declared its intention to invest
INR5 billion to establish 500 screens in
Madhya Pradesh.
DOMESTIC THEATRICALS
Domestic theatrical revenues remain the main
source of income for movie makers in India.
The segment contributes 74 per cent to the
total industry. In 2014, the overall industry
performance was dampened due to the drop in
theatre footfalls in the first three quarters and
slower growth in average ticket prices (ATP).
Exhibition
In 2014 Indian films further increased their reach.
Hindi films ‘Bang Bang’ and ‘PK’ were released across
800 plus and 6000 screens worldwide in the overseas
market. Besides, increasing the number of prints in
2014, the industry also added new geographies to
its distribution portfolio: newer markets included
geographies such as Lebanon, Iraq and Burma

The industry is estimated to be worth
INR126.4 billion in 2014. Though the share of
other revenue streams is on the rise, domestic
theatricals is expected to continue to dominate
for the next five years.
The gross box office collections of top 10
Hindi films in 2014 grew by 2.4 per cent over
2013 collections and 11.7 per cent over 2012
collections. However, for the next 10 films the
box office collections dropped by 3 per cent
in comparison to 2013 collections and 11.3
per cent for 2012 collections. The trend has
continued across the board with box office
collections of films ranking 21 to 50 sliding
further compared to previous years (2012 and
2013). The drop has been extreme in case of
films ranking 41 to 50 where the total box
office collections of these films dropped by 48
per cent in 2014 as compared to 2013.
While 2014 has been a lack-lustre year due to
the poor performance of content, 2015 could
also witness similar muted growth due to the
uncertainty around content which is already in
the pipeline and the slow rate of real estate
growth which is expected to impact the
delivery of new screens. Additionally, since the
next phase of screen growth is being delivered
by tier 2 and tier 3 cities, the ATP growth might
be a bit slower than historical growth.
However, from 2016 onwards the industry
expects to get back on its growth trajectory.
Taking the above factors into consideration,
the domestic theatrical segment is expected
to touch INR204 billion by end of 2019 and
grow at a CAGR of 10 per cent during 2014-
2019.
OVERSEAS THEATRICALS
Overseas theatricals witnessed a 3.5 per cent
increase from INR8.3 billion in 2013 to INR8.6
billion in 2014, while the overall contribution
stood at 7 per cent of the total revenue.
Currently, on an average only 10-25 per cent of
the total gross collections of an Indian movie
is collected from overseas theatrical compared
to 60 per cent for Hollywood industry.
In 2014 Indian films further increased their
reach. Hindi films ‘Bang Bang’ and ‘PK’ were
released across 800 plus and 6000 screens
worldwide in the overseas market. Besides,
increasing the number of prints in 2014, the
industry also added new geographies to its
distribution portfolio: newer markets included
geographies such as Lebanon, Iraq and
Burma.
Filmmakers and production houses seem
to be looking at overseas theatrical beyond
just an ancillary revenue stream. Premieres
at international locations, and tie-ups with
international agencies have all been exercises
to increase traction in foreign countries and
promote Indian films. Middle East, North
America and U.K. are the key markets, and
together they continue to contribute about 70
per cent to the total overseas revenues.
The Middle East market has showcased an
impressive Y-o-Y growth of 25-30 per cent
while the U.S. market grew at ~5-10 per
cent. In U.K., Indian movies are struggling to
connect with the third generation of Indian
diaspora leading to a decline in collections
from the region. The industry is experiencing
mushrooming demand from new markets
such as Japan, China, South Korea and Peru
where films are distributed with subtitles in
the native language of those markets. Movies
with strong content such as ‘PK’, ‘Haider’, ‘2
States’ are performing well with non-Hindi
speaking audiences as well.

2
014 was a landmark year for regional
cinema as the number of regional
movies produced reached an all-time
high - around 287 Tamil language movies were
released in 2014, the number stood at 255 for
Telugu movies compared to 216 Hindi movies.
At the same time, other regional industries
also saw a steep increase in the production of
movies. While the four South Indian markets,
Tamil, Telugu, Kannada, and Malayalam, still
lead the pack, the Marathi and Punjabi film
industries undoubtedly left their mark at the
box office in 2014. While the Marathi film ‘Lai
Bhaari’ made with a budget of INR 80 million
had a box office collection of more than INR
350 million, the animated Punjabi movie ‘Chaar
Saahibzaade’ made with an investment of
INR200 million generated INR700 million at
total box office. The Bengali film industry did
not have a great year as the few category-A
films failed to attract audiences to theatres.
Many domestic exhibitors are now willing to
give more screen space to regional cinema and
sometimes even prefer a good regional movie
over a Hindi movie. ‘Lingaa’ became the first
Tamil movie to enjoy the widest release across
5,000 screens worldwide. Besides cashing in
big at the ticket counter, the Tamil film industry
also stood out for its proclivity to produce
experimental films such as ‘I’. The impressive
growth of the Tamil industry can be partially
attributed to a number of small budget movies
with good and fresh content, which performed
exceptionally well at the box office.
The Telugu film industry, which is similar to
the Hindi film industry for its dependence on
star power, had a softer year compared to
its neighbours. While the number of movies
produced during the year increased, the
highest grossing Telugu movie ‘Race Gurram’
in 2014 collected just INR570 million at the
box office compared to the highest grossing
movie in 2013 which ended by collecting
INR1.81 billion. The movies ‘Minugurulu’ and
‘Manam’ scored high on the critics list and
were amongst the 30 films shortlisted by the
Film Federation of India (FFI) for the 87th
Oscar Awards.
Individually, the Tamil industry needs to find a
workaround to be able to offer enough cinema
screens to a movie, considering on an average
four to five Tamil films get released every
week; the Telugu industry which is primarily
dominated by a few top actors needs to widen
its portfolio to involve new talent. Kannada
and Malayalam films still lag behind in terms
of content and production values, albeit the
rise in number of productions in a year.
Regional Markets
Regional cinema is now able to make bigger inroads
in the overseas market, growing in both traditional
markets such as the US, Gulf and non-traditional
markets such as Japan, France, Denmark, Taiwan,
Korea and China

Bengali films on the other hand need to cope
up with the lack of serious players in the
production space, limited cable and satellite
options, very few stars and most importantly
limited multiplex screening infrastructure.
The emergence of successful movies from
smaller industries is a positive sign; however
the challenge ahead would be to sustain this
growth.
OVERSEAS THEATRICALS
Regional cinema is also now able to make
bigger inroads in the overseas market, growing
in both traditional markets such as the US, Gulf
and non-traditional markets such as Japan,
France, Denmark, Taiwan, Korea and China.
The trend of opening up new markets applied
to regional films as well. ‘Kaka Muttai’ and
‘Char Sahibzaade’ performed extremely well
in non-traditional markets such as Canada and
New Zealand.
Tamil films derive 90 per cent of their overseas
demand from four key markets - U.S., Malaysia,
UAE and Singapore. ‘Lingaa’, ‘Kaththi’, ‘Jilla’,
‘Kochadaiiyaan’ performed well among the
Tamil movies in the US and U.K. markets.
‘Lingaa’ was released across 200 screens
in the US, 85 in England, 50 in France, 20 in
Denmark, 16 in Germany, 9 in Holland and on
few screens in Switzerland, Norway, Belgium,
and Sweden36 while the Tamil film ‘I’ was
released across 5,000 screens in China alone.
The Punjabi film industry is facing challenging
times due to drop in demand from U.K.
However, as an exceptional case, ‘Chaar
Saahibzaade’ earned nearly 60 per cent of its
total revenue from overseas markets including
North America, U.K., Australia, and Europe.
Bengalifilmsarestillrestrictedtofilmfestivals
and art house circuit. Overseas markets
together contribute less than 5 per cent to
the total theatricals. Bangladesh market is
considered as a potentially big market for
the industry however, cracking the market is
proving to be a challenge for the industry.
Box office performance of select regional films
Movie Language Budget Gross Box Office
Lingaa Tamil 800 1480
Kaththi Tamil 700 1240
Aranmanai Tamil 120 220
Vella Illa Pattathari Tamil 80 530
Bangalore Days Malayalam 90 500
Lai Bhaari Marathi 80 350
Chaar Sahibzaade Punjabi 200 700
Veeram Tamil 400 1300
Source: Hindustan Times, 19 December 2014, ‘2014: When little
gems outclassed big guns in southern cinema’
In INR millions

2
014 was a good year for Hollywood films
in India, the gross box office collections
of top 10 films increased from INR3.2
billion (2013) to INR4.2 billion (2014). The
consumption of Hollywood content in India
is rapidly changing amongst the audience
driven by the youth and emergence of new
centres in tier2 and tier 3 cities where largely
dubbed content performs well. In 2014,
franchise movies such as ‘Amazing Spider
Man 2’, ‘Transformers 4: Age of Extinction’,
and ‘X-Men: Days of Future Past’ continued to
perform well at the box office and generated
close to INR2.1 billion30 in gross box-office
collections in India.
Though franchise and superhero movies draw
wider audience, small budget movies with
stronger scripts have also performed well.
Top 10 Hollywood films in India (2014)
Titles Total GBO (INR million)
Amazing Spider Man 2 875
Transformers 4: Age Of Extinction 630
X-Men: Days Of Future Past 566
Interstellar 432
300: Rise Of An Empire 401
Godzilla 340
Captain America: The Winter Soldier 310
Hercules 290
Dawn Of The Planet Of The Apes 224
Exodus: Gods And Kings 189
Source: Kinematograph Renters Society
Hollywood in India
The consumption of Hollywood content in India is
rapidly changing amongst the audience driven by the
youth and emergence of new centres in tier2 and tier 3
cities where largely dubbed content performs well

‘Fault in Our Stars’ (83 screens) and ‘Gone
Girl’ (155 screens), while competing with big
budget Bollywood movies, reported INR52.9
million and INR34.9 million gross box-
office collections in their respective opening
weekends.
Initially aimed at the English speaking Indian
audience, film studios are now realising the
potential and popularity of Hollywood movies
amongst the non-English speaking audience
as well. Today, Hollywood movies are being
dubbed in various Indian regional languages
apart from Hindi.
Fast And Furious 7 has officially become the first Hollywood film
to enter Rs.100 crore club in India.
The James Wan-directed movie - which is the last film in the
series to star late actor Paul Walker - hit the impressive figure in
a three weekends. The film has earned Rs.104 crore net till now
in the domestic box office. (April 20, 2015). Apart from English,
the film released in Hindi, Tamil and Telugu on April 2 in India.

W
hile revenues from digital delivery
of videos are still very small, the
industry is not discounting the
future potential and is making investments to
capitalise on the potential. Video advertising
is fast gaining prominence as advertisers are
looking to reinforce their marketing messages
on multiple screens to maximise impact by
integrating video-related advertising into their
digital mix. From the advertisers’ perspective,
video ads are similar to TV in terms of ability
to connect with the consumer but provide the
efficacy and direct targeting with the ability to
track, measure, analyse and monetise online
campaigns in real time.Also, video ads are an
effective way to target the young and affluent
demographics for whom consumption habits
have shifted significantly to digital media.
Social media provides a ‘multiplier effect’ for
video ads since video ads when done right can
get shared multiple times and go viral.
Besides pure play advertising, platforms and
advertisers alike are also exploring made-for
digital branded content.
There have been some successful examples
of this already – (i) MTV had two web series,
a fashion and lifestyle web series called
‘The Look’ and a fitness web series called
‘Get Fit’ in 2014, and (ii) The Viral Fever, a
YouTube channel debuted a sponsored web
series called ‘Permanent Roommates’, (iii)
One Digital Entertainment in association with
Virgin Atlantic Airways and VisitBritain had a
food and travel 20 episode series with Chef
Saransh Goila named ‘The Spice Traveller’.
While so far, monetisation of on-demand
content has been through advertising, scope
for subscription and pay-per-view revenues
for premium, value-added and exclusive
content is promising. In the medium term, as
internet accessibility improves further, there
will be increasing demand for customised and
premium content in India. This can make the
paid model more attractive for the digital video
platforms. Further, as observed in developed
Monetisation of
Digital Video Content
For all the convenience and flexibility of streaming
content on to smartphones and tablets, the viewing
experience on a high-definition large screen TV will
likely remain unmatched. While smart TVs/connected
TVs are one way for consumers to watch on-demand
content on TVs, globally the market is shifting towards
over-the-top (OTT) devices

VOD Platforms in India
iTunes Store
• Movies, TV shows, music, games,
books, podcasts
• 40,000+ movie titles and 190,000+
TV shows
Google Play store
• Movies, TV shows, games, books in
English, French, Spanish and Hindi
Hotstar.com / Starsports.com
• TV shows from the Star stable in
seven languages
• ~300 movies
• Sports including live content
Ditto TV
• ~150 live TV channels
• TV shows from the Zee stable and
other broadcasters
• ~3,000 movies across all major
Indian languages and English
Sony LIV/LIV Sports
• All content from Sony Entertainment
banner
• Sports including live content
Eros Now
• ~ 3,500 movies, including all of Eros
International’s movies and from
most major studios across Hindi and
regional languages
• TV shows from mainstream Hindi and
regional channels
• Music from Eros internal library and
other major music labels
Box TV
• Movies in Hindi and English
• TV content primarily from Sony, Big
Magic and library content
Bigﬂix
• ~ 2,000 movies in 13+ languages
Hungama.com
• 900+ movies in 8+ languages
Spuul.com
• 1000+ movies from most major
production houses in India in Hindi
and regional languages
• Hindi and Regional TV content,
primarily from Viacom18

DishOnline
• 50+ live TV channels
• Catch up TV content
• Movies
Everywhere TV
• 75 live TV channels
• catch up TV content from 24 channels
• Movies
Pocket TV
• Catch up TV content from 13 channels
• Movies
Direct2Mobile
• Catch up TV content
• Movies
markets, there could likely be increasing
preference for ad-free content on digital
platforms for which users may be willing to
pay a premium. Increasing disposable income
seem to also be resulting in higher spend on
entertainment by the growing mid and high
income classes in India, particularly in urban
clusters.
Viewers are expected to be selective in
paying for content and are expected to pay as
long as they see additional value in terms of
exclusivity or timing or availability. This has
been observed in the case of multiplexes and
DTH industry, which have managed to raise
average ticket prices and ARPUs, respectively,
consistently year on year by providing better
value. However, a key risk is that consumers
are becoming accustomed to free content
on digital media, and changing the habit of
consumers would be tricky.
Currently, existing TV and ﬁlm content has
been repurposed for viewing on digital media
but going forward, original content on digital
media can drive subscription revenues.
Sports can be another key driver for premium
subscription. For instance, StarSports.com’s
paid streaming for ICC Cricket WC 2015 for a
subscription package costing INR120 (USD 2)
has gained signiﬁcant traction.
One of the primary forces impeding the growth
of subscription and pay-per-view revenues is
the hassles that customers face while making
payments on digital platforms, even when they
are willing to pay. This is on account of:
Low credit card penetration
Fear of using netbanking and credit cards
online due to security threats
Lack of experience in using e-wallet/m-
wallet
Asaresult,somedigitalplatformsareusingthe
mobile carrier billing for payment collection,
but the high revenue share expected by Telcos
for billing is a barrier, especially since unlike in
the Mobile VAS space, Telcos do not manage
the delivery channel and customer acquisition,
but only the collection. The TV Everywhere
services by TV distribution platforms have an
advantage over other platforms, due to their
already existing customer billing relationship.
Even in a relatively mature market such as US,
TV Everywhere is growing faster than other
video streaming services such as YouTube,
Hulu and Daily Motion.

OVER-THE-TOP DEVICES: THE FUTURE
TREND
For all the convenience and flexibility of
streaming content on to smartphones and
tablets, the viewing experience on a high-
definition large screen TV will likely remain
unmatched. While smart TVs/connected TVs
areonewayforconsumerstowatchon-demand
content on TVs, globally the market is shifting
towards over-the-top (OTT) devices/Internet
STBs on account of high cost of replacement
of smart TVs, better user interfaces on OTT
devices, shortening technology life cycles,
and difficulty in receiving software updates
on smart TVs. These OTT devices could be
dedicated IP streaming devices such as Apple
TV and Chromecast or gaming consoles such
as Xbox and PS3. There are already several
international as well as domestic devices
available in the market at different price
points and with different feature sets. While
these devices may not gain mass appeal in
India given their high prices, a segment of the
audience, is already adopting these devices
and the trend is expected to gain traction as
availability of premium quality content on
digital platforms improves.
Content is king on digital platforms
as well
While content will be one of the critical success factors, ac-
cording to industry participants, it is also expected to be the
biggest drain on cash flows for digital video platforms.
The content licensing deals for digital rights largely remain on
minimum guarantee basis, while there are some deals, espe-
cially for ongoing TV shows and live TV streaming that are tak-
ing place on revenue share basis. Even internationally, in spite
of its scale, majority of the content deals for Netflix are on a
fixed cost basis and content costs constituted over 70 per cent
of revenues for Netflix in 2014.

INDIAN
FILMS AT
CANNES
Ofﬁcial Film Selections from India at
Cannes International Film Festival
India_Film_Guide_2015_Inner_Pages_69-150.indd.indd 69India_Film_Guide_2015_Inner_Pages_69-150.indd.indd 69 05-05-2015 17:59:0105-05-2015 17:59:01

Indian Films at Cannes
UN CERTAIN REGARD
CHAUTHI KOOT
by Gurvinder Singh
Chauthi Koot unfolds in 1984 Punjab, a state in
turmoil, in the midst of Sikh militancy, in the midst
of fear and suspicion. The movie explores the horrible
plight of the common man as he ﬁnds himself trapped
between the army and the extremists.
International Sales Contact:
Elle Driver
Eva Diederix, Managing Director
eva@elledriver.eu
Un Certain
Regard
Screening Date and Time:
15 May: 4:30 pm, Salle Debussy
16 May: 11 am, Salle Bazin
22 May: 10 pm, Salle Debussy

Original Title: Chauthi Koot
English Title: Fourth Direction
Length: 115 mins.
Language: Punjabi
Year of Production: 2015
Country of Production: India
Shot On: 4K digital
Projection Format: DCP
Sound: Dolby Surround
Crew:
Director: Gurvinder Singh
Producer: Kartikeya Narayan Singh
Co-Producers: Nina Lath Gupta, Catherine Dussart, Sunil Doshi, Gurvinder Singh
Creative Producer: Olivia Stewart
Associate Producers: Himmat Sarkaria, Michael Henrichs
Production Company: The Film Cafe, Mumbai
Supported Financially By: NFDC, Aide aux CinÉmas du Monde, Hubert Bals Fund,
Handmade Films, Paddy & Joan Leigh Fermor Arts Fund
Screenplay: Gurvinder Singh
Story: Waryam Singh Sandhu
Dialogues: Waryam Singh Sandhu & Jasdeep Singh
Director of Photography: Satya Rai Nagpaul
Sound Recording & Design: Susmit Bob Nath
Editing: Bhupesh Micky Sharma
Re-Recording Mixer: Bruno Tarriere
Music: Marc Marder
Production Design: Priyanka Grover
Costumes: Navjit Kaur
Cast:
Joginder: Suvinder Vikky | Beero (Wife): Rajbir Kaur | Mother: Gurpreet Kaur Bhangu
| Boy (Sukhdev): Taranjit Singh | Girl: Harleen Kaur | Hindu Man 1: Kanwaljit Singh |
Hindu Man 2: Harnek Aulakh | Sikh Man: Tejpal Singh | Train Guard: Gulshan Saggi
Credits

MASAAN
by Neeraj Ghaywan
Four lives intersect along the Ganges – a lower-caste
boy in hopeless love, a daughter ridden with guilt of a
sexual encounter ending in a tragedy, a hapless father
with a fading morality, and a spirited child yearning
for a family, long to escape the moral constructs of a
small-town.
International Sales Contact:
Themba Bhebhe
Pathe International,
themba.bhebhe@pathe.com
Screening Date and Time:
19th May, at 5PM.
Un Certain
Regard

Drishyam Films presents A Macassar Productions,
Sikhya Entertainment & Phantom Production
Directed by – Neeraj Ghaywan
Produced by – Manish Mundra, Mélita Toscan du Plantier and Marie-Jeanne Pascal,
Guneet Monga, Shaan Vyas, Vikas Bahl, Vikramaditya Motwane & Anurag Kashyap
Co–Producer – Dipa De Motwane, Sophie Seydoux,
ARTE France CINEMA & PATHE Production
Cinematography - Avinash Arun Dhaware
Screenplay & Lyrics - Varun Grover
Original Music composed & orchestrated by - Bruno Coulais
Songs composed by - Indian Ocean
Edited by - Laure Gardette
Consulting Editor - Nitin Baid
Sound Designers - Gilles Benardeau, Sanjay Maurya & Allwin Rego
Costume Designer- ShrutiKapoor
Production Designer- RanjitSingh
Casting Director- Mukesh Chabbra
Action Director –ShamKaushal
Sound Mixing - Gilles Benardeau
Associate Producer - Ranjan Singh & Rati Shankar Tripathi
First Assistant Director - Karuna Dutt
On Set Sound Recordist - VinitD'Souza
Makeup Designer - Shrikant Desai Principle
Cast
Richa Chadda | Sanjay Mishra | Vicky Kaushal | Shweta Tripathi | Vineet Kumar |
Pankaj Tripathi | Nikhil Sahni | Bhagwan Tiwari | Bhupesh Singh
Credits

NATIONAL
FILM AWARDS
Winners of the 62nd National Film
Awards for the year 2014

Indian National Film Awards 2014
BEST
FEATURE
FILM
Court
(Marathi, Hindi,
Gujarati &
English)
Producer: Zoo
Entertainment Pvt. Ltd.
Director: Chaitanya
Tamhane
Swarna Kamal and
` 2,50,000/- each to the
Producer and Director
COURT is a powerful and
stark depiction of the
mundaneness of judicial
procedure revealed
brilliantly by the film’s
form, forcing us to reflect
on the heartwrenching
insensitivity of institutional
structures.
Asha Jaoar Majhe (Bengali)
Producer: F.O.R Films Pvt. Ltd.
Director: Aditya Vikram Sengupta
Swarna Kamal and
` 1,25, 000/- each to the Producer and Director
For the portrayal of routine ordinary life with extraordinary
cinematic finesse.
INDIRA GANDHI AWARD FOR BEST
DEBUT FILM OF A DIRECTOR
BEST POPULAR FILM PROVIDING
WHOLESOME ENTERTAINMENT
BEST FILM ON SOCIAL ISSUES
Mary Kom (Hindi)
Producer: Viacom 18 Motion Pictures
Director: Omung Kumar
Swarna Kamal and
` 2,00,000/- to the Producer and Director
For an inspiring tale of a woman who becomes a national
icon through her determined pursuit of sporting excellence.
Chotoder Chobi (Bengali)
Producer: Shree Venkatesh Films Pvt. Ltd.
Director: Kaushik Ganguly
Rajat Kamal and
` 1,50,000/- each to the Producer and Director
For its empathetic portrayal of marginalized people and their
struggle for a life of dignity.

BEST ACTOR
Nanu Avanalla
Avalu (Kannada)
Vijay
Rajat Kamal and
` 50,000/-
For his subtle and
nonstereotypical playing
of a woman trapped in a
man’s body, portraying
a gamut of emotions as
s/he struggles through
confusion, rejection and
humiliation to finally
chart her own course
with confidence and
dignity.
Ottaal (Malayalam)
Producer: Director Cutz Film Company (P) Ltd.
Director: Jayaraj
Rajat Kamal and
Ottaal, a visual poem, expresses the beauty and serenity of
the protagonist’s rural environment and a way of life whose
value is measured by the poignancy of its loss.
BEST FILM ON ENVIRONMENT
CONSERVATION/PRESERVATION
BEST CHILDREN’S FILM
Kaakkaa Muttai (Tamil)
Producer: Grass Root Film Company
Director: Manikandan M
&
Elizabeth Ekadashi (Marathi)
Producer: Essel Vision Productions Ltd.
Director: Paresh Mokashi
Swarna Kamal and
(Cash component to be shared between films)
Kaakkaa Muttai for narrating a charming story of two
brothers who are unaware of their deprived status and have
a confrontation with the tastelessness of globalization.
Elizabeth Ekadashi is a delightful tale that reaffirms
children's ability to negotiate the complexities of life with
relative ease.
BEST DIRECTION
Chotushkone (Bengali)
Srijit Mukherji
Swarna Kamal and
` 2,50,000/-
For its brilliantly reflexive use of the cinematic idiom through a playful and innovative
mise-en-scene that tautens to an unexpected and gripping climax.

BEST CHILD
ARTIST
Kaakkaa Muttai
(Tamil)
J. Vignesh
AND
Ramesh
Rajat Kamal and
` 50,000/- (Cash
component to be shared)
For their portrayal of
inseparable siblings
living in a slum who
innocently struggle with
rare dignity to acquire
what attracts them
in this vast market of
products unleashed by
a liberal economy only
to realise the harsh
reality of invincible class
boundaries.
Queen (Hindi)
Kangana Ranaut
Rajat Kamal and
` 50,000/-
For an endearingly etched out performance that is grounded
in contextual specificity and at the same time is disarmingly
spontaneous as to appear almost improvisatory.
BEST ACTRESS
BEST SUPPORTING ACTOR
BEST SUPPORTING ACTRESS
Jigarthanda (Tamil)
Bobby Simhaa
Rajat Kamal and
` 50,000/-
For an engaging portrayal of a dreaded Mafia don who plays
both the villain and the comic with a rare flamboyance and
abandon.
Pagdi The Honour (Haryanavi)
Baljinder Kaur
Rajat Kamal and
` 50,000/-
For a very expressive performance as a gritty rustic woman
who struggles as wife and mother to keep her family intact
in a society obsessed with patriarchal honour.

BEST EDITING
Jigarthanda
(Tamil)
Vivek Harshan
Rajat Kamal and
` 50,000/-
For structuring the
different narratives of
raw cruelty and urban
cunning that eventually
intermingle with
positive and humourous
overtones through
skillful editing.
Haider (Hindi)
Sukhwinder Singh (For the song Bismil)
Rajat Kamal and
` 50,000/-
For a powerful rendition which effectively reﬂects the agony
and anger of the protagonist.
BEST MALE PLAYBACK SINGER
BEST FEMALE PLAYBACK SINGER
BEST CINEMATOGRAPHY
Saivam (Tamil)
Uthara Unnikrishanan (For the song Azhagu)
Rajat Kamal and
` 50,000/-
For evoking an emotional resonance through the purity and
innocence of her voice.
Sudeep Chatterjee
Rajat Kamal and
` 50,000/- each
For exhibiting a wide spectrum of space and time while
effortlessly knitting the emotional fabric of the ﬁlm.

BEST MAKE-UP
ARTIST
BEST COSTUME
DESIGNER
Nanu Avanalla
Avalu (Kannada)
Nangaraju & Raju
Rajat Kamal and
` 50,000/-
For the realistic creation
of gender duality in
a character through
different phases of life.
Haider (Hindi)
Dolly Ahluwalia
Rajat Kamal and
` 50,000/-
Forcapturingtheessence
of the characters and
moods with creative
ﬂourish.
BEST PRODUCTION DESIGN
Nachom – IA Kumpasar (Konkani)
Aparna Raina
Rajat Kamal and
` 50,000/-
For convincingly recreating spaces from a different era and
with minute attention to detail.
i) Screenplay Writer (Original)
Srijit Mukherji
Rajat Kamal and
` 50,000/-
Chotushkone for the masterful telling of a taut suspense
thriller which weaves a sinister web around the journey and
lives of four egotistical characters.
ii) Screenplay Writer (Adapted)
Ottaal (Malayalam)
Joshy Mangalath
Rajat Kamal and
` 50,000/-
Ottaal for beautifully transposing Anton Chekov’s short
story onto a canvas of nature that enhances the shades of
the original.
iii) Dialogues
Haider (Hindi)
Vishal Bhardwaj
Rajat Kamal and
` 50,000/-
Haider for the multi layered and resonant dialogues that
evoke angst and passion with crispness and brevity.
BEST SCREENPLAY

BEST MUSIC
DIRECTION
i) Songs
Haider
(Hindi)
Vishal Bhardwaj
Rajat Kamal and
` 50,000/-
For developing the
conflict of the inner and
outer landscape through
haunting music.
ii) Background
Score
1983 (Malayalam))
Gopi Sunder
Rajat Kamal and
` 50,000/-
Formaintainingthetempo
of the film with an in-sync
background score.
BEST LYRICS
Saivam (Tamil)
(Azhagu)
NA. Muthukumar
Rajat Kamal and ` 50,000/-
For embodying the world as seen through the eyes of a child
using common place images to make an appeal to an adult
world.
i) Location Sound Recordist
Khwada (Marathi)
Mahaveer Sabbanwal
Rajat Kamal and
` 50,000/-
Khwada for its excellent live sound quality which skillfully
captures all the ambient sounds with the right tonal
balance.
ii) Sound Designer
Asha Jaoar Majhe (Bengali)
Anish John
Rajat Kamal and
` 50,000/-
Asha Jaoar Majhe for creating a brilliant soundscape which
enhances the narrative even in the absence of the spoken
word.
iii) Re-recordist of the final mixed track
Nirbashito (Bengali)
Anirban Sengupta & Dipankar Chaki
Rajat Kamal and
` 50,000/-
Nirbashito for the seamless movement from chaos into the
quietness of solitude while integrating various elements of sound.
BEST AUDIOGRAPHY

Haider (Hindi)
(Bismil)
Sudesh Adhana
Rajat Kamal and
` 50,000/-
For the evocative fusion of performative grammars,
interweaving a staccato whirling of masculinised bodies
with larger than life puppets, to create a dance that is ﬁrmly
embedded within the narrative.
Khwada (Marathi)
Director: Bhaurao Karhade
Rajat Kamal and
` 2,00,000/-
For a hard-hitting but restrained narration of the harsh
realities of a nomadic shepherd community who are in
search of stability.
BEST CHOREOGRAPHY
SPECIAL JURY AWARD
The National Film awards have over the
years brought the best talent present in
India Cinema to national limelight. In its
over a half a century long history, the
National Film Awards have nurtured
numerous talent who are now national
icons and also known internationally.

BEST HINDI FILM
Queen
Producer: Phantom
Films Pvt. Ltd. & Viacom
18 Motion Pictures
Director: Vikas Bahl
Rajat Kamal and
` 1,00,000/- each to the
For a delightful portrayal
of a young girl who
emerges from her
cocoon of difﬁdence and
middleclass mores to
discover the pleasure
and fulﬁllment of a life
lived on her own terms.
Othello
Producer: Artha Films
Director: Hemanta Kumar Das
Rajat Kamal and
For its tangential evocation of the Shakespeare play as
it explores mistrust and prejudice in a society ridden with
political turmoil.
BEST ASSAMESE FILM
BEST BENGALI FILM
Nirbashito
Producer: Kaushik Ganguly Productions
Director: Churni Ganguly
Rajat Kamal and
For its poignant articulation of the suffocation one
experiences when exiled in a land that is not one’s own, as
a price that is paid for asserting one’s right to freedom of
expression.
BEST KANNADA FILM
Harivu
Producer: Om Studio
Director: Manjunath S. (Mansore)
Rajat Kamal and
1,00,000/- each to the Producer and Director
For the lingering pathos of a father’s struggle to provide
medical treatment to his only child and his long trek back
home with his son’s corpse.

BEST KONKANI
FILM
Nachom – IA
Kumpasar
Producer: Goa Folklore
Productions
Director: Bardroy
Barretto
Rajat Kamal and
` 1,00,000/- each to the
For its nostalgic recovery
of a distinctive musical
legacy, as told through
the rollercoaster lives
of its practitioners, that
has remained unsung
despite its inﬂuence upon
Bombay cinema.
Ain
Producer: 1: 1: Enternatments
Director: Sidhartha Siva
Rajat Kamal and
For its gently nuanced narrative in which a carefree young
man embraces responsibility and compassion for the lives
of others.
BEST MALAYALAM FILM
BEST MARATHI FILM
Killa
Producer: JAR Pictures & M R Film Works
Director: Avinash Arun
Rajat Kamal and
For its warm portrait of a young boy as he emerges from the
shadows of dislocation and loss in an unfamiliar environment
to embracing what life has to offer.
BEST ODIYA FILMBEST TAMIL FILM
Aadim Vichar
Producer: Mohapatra Movie Magic Pvt. Ltd.
Director: Sabyasachi Mohapatra
Rajat Kamal and
` 1,00,000/- each to the Producer and
Director
For its vibrant portrayal of a tribal
community whose enabling humanism
shows a way out of pettiness and
prejudice.
Kuttram Kadithal
Producer: JSK Film Corporation
Director: Bramma.G
Rajat Kamal and
` 1,00,000/- each to the Producer and
Director
For the pervasive empathy with which
it examines the guilt and the anger that
follows upon a school teacher’s impulsive
slapping of a student.

BEST PUNJABI
FILM
Punjab 1984
Producer: White Hill
Production India Pvt. Ltd.
Director: Anurag Singh
Rajat Kamal and
` 1,00,000/- each to the
For its searing portrayal
of how ordinary lives
and simple dreams are
shattered in a time of
militancy.
Chandamama Kathalu
Producer: Working Dream Production
Director: Praven Sattaru
Rajat Kamal and
For its skilful interweaving of stories featuring a variety
of characters bound together by a common anxiety about
securing their future.
BEST TELUGU FILM
BEST RABHA FILM
Orong
Producer: Suraj Kr. Duwarah, Aucto Creation
Director: Suraj Kr. Duwarah
Rajat Kamal and
For its sensitive portrayal of a young man as he drifts through
a life that offers little promise or excitement.
BEST HARYANVI FILM
Pagdi The Honour
Producer: V R Entertainers
Director: Rajeev Bhatia
Rajat Kamal and
For capturing honestly the abrasive fabric of a patriarchal
society that places an inordinate premium on honour,
and also offering the possibility of liberation through an
acknowledgement of others’ pain.

SPECIAL
MENTION
Ain
(Malayalam)
Musthafa
CERTIFICATE
For the minute and
nuanced manner
in which he assays
the imperceptible
transformation of a
carefree youth into a
compassionate and
responsible young man.
Nachom – IA
Kumpasar
(Konkani)
Palomi Ghosh
CERTIFICATE
For her extraordinarily
energetic performance
as a girl whose infectious
passion for singing and
love comes at enormous
personal cost.
Killa (Marathi)
Bhootnath
Returns (Hindi)
Parth Bhalerao
CERTIFICATE
For lovable portrayals
with rare aplomb of
an impish and caring
child in both Killa and
Bhootnath Returns.
Tender is the Sight
Producer: Films Division
Director: Torsha Banerjee
Swarna Kamal and
For its sensitive and lyrical portrayal of ten-year-old
Hassirbullah, who, though visually challenged, creates a
symphony of sounds. The ﬁlm captures his universe, his life
and his talent, softly and gently.
BEST NON FEATURE FILM
BEST DEBUT FILM OF A DIRECTOR
Goonga Pahalwan
Producer: Drishti Media
Director: Mit Jani, Prateek Gupta & Vivek Chaudhary
Rajat Kamal and
` 75,000/- each to the Producer and Director*
Foritsfun,yetmatureportrayalofitsprotagonist,achampion
at the Deaf Olympics. It pointedly questions the politics that
impede this capable athlete’s route to the Rio Olympics.
BEST ANTHROPOLOGICAL /
ETHNOGRAPHIC FILM
Qissa – e – Parsi : The Parsi Story
Producer: Public Service Broadcasting Trust
Director: Divya Cowasji & Shilpi Gulati
Rajat Kamal and
` 50,000/- each each to the Producer & 50,000/-
Director*
For its light-hearted yet comprehensive telling of the story
of India’s much loved community, the Parsis. It explores
their history, the philosophy of their faith, their enterprise
and their way of life, with delight and laughter.

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