Film guide- Cannes International Film Festival
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Transcript of Film guide- Cannes International Film Festival
Ministry of Information & BroadcastingGovernment of India
Cannes Film MarketIndia Pavilion111 International Village RivieraMay 14-24, 2015
www.indiaatcannes.com
in partnership with
Ministry of Information & BroadcastingGovernment of India
MINISTRY OF INFORMATION AND BROADCASTINGGOVERNMENT OF INDIA
ROOM NO.107, FILMS WING, SHASTRI BHAVANDR. RAJENDRA PRASAD ROADNEW DELHI - 110 001 INDIA
Federation of Indian Chambers of Commerce and Industry
FICCI Federation House, Tansen MargNew Delhi, India 110001
Tel: +91-11-23738760www.fi cci.com
Directorate of Film FestivalsMinistry of Information & Broadcasting
Government of IndiaSirifort Auditorium Complex,
August Kranti Marg, New Delhi- 110049Tel: 91 11 26499371
www.dff.nic.in; www.iffi .nic.in
in partnership with
FILM GUIDEINDIA
www.makeinindia.com
IND
IA F
ILM
GU
IDE
20
15
MIN
IST
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OF
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FOR
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India at Cannes_Cover_with Spine_new.indd 1India at Cannes_Cover_with Spine_new.indd 1 30-04-2015 22:26:2030-04-2015 22:26:20
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CONTENT
FILMING IN INDIA 151
INDIAN FILM
PRODUCTION CENTRES
INDIAN FILMS AT CANNES
FILM SECTOR
INITIATIVES
25
6911
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NATIONAL FILM
AWARDS
INDIAN COMPANIES AT CANNES
FILM MARKET
FILMS FOR
SALES AND
SYNDICATION
KEY INDUSTRY CONTACT LIST 237
75
101 131
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Cannes Film Market 5
Message
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Cannes Film Market 7
Message
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Cannes Film Market 9
Foreword
India_Film_Guide_2015_Pages_1-68.indd 9India_Film_Guide_2015_Pages_1-68.indd 9 05-05-2015 17:13:5605-05-2015 17:13:56
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FILM SECTORINITIATIVES
Film Policies of the Ministry of Information and Broadcasting
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India Film Guide 2015 12
The Ministry of Information and Broadcasting, through
the mass communication media consisting of
radio, television, fi lms, 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 fl ow 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 fi elds of mass media, fi lms
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 fi lm industry.
Organization of fi lm 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 certifi cation of fi lms.
SPOT INFORMATION+ 91 11 23384995
WEBSITE
www.mib.nic.in
jsfi [email protected]
MINISTER FOR INFORMATION & BROADCASTING
Shri Arun Jaitley
MINISTER OF STATE FOR INFORMATION & BROADCASTING
Col. Rajyavardhan Rathore
SECRETARYBimal Julka
JS FILMSK. 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
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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 fi eld of information & mass media
The execution of the fi lm mandate of the Ministry of Information & Broadcasting is carried out through the following bodies
Films Division
Central Board of Film Certifi cation
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
fi elds of mass media, fi lms and broadcasting and interacts with its foreign counterparts on behalf of
Government of India.
Film Sector Initiatives
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India Film Guide 2015 14
Single Window for Film Shooting in India – Film Facilitation UnitThe Ministry of Information & Broadcasting is in the
process of setting up of a Film Facilitation Unit
A single window service for promoting
fi lm 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 fi lm
producers in assisting them to procure
requisite permission.
ii. Disseminate information on shooting
locations and the facilities available with
the Indian fi lm 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 [email protected]
PH: +91-11-23384995
Film Sector Initiatives
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15Cannes Film Market
also include information on state-wise
facilities like transport, hospitality, medical
services and other local information for the
applicants.
After making an application online, fi lmmakers
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
fi lmmaker would submit the script to the
Ministry of Information & Broadcasting for
clearance as before.
Effectively, the single window system for
fi lm shoot permission will enable fi lmmakers
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 fi lm producers.
Film Sector Initiatives
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India Film Guide 2015 16
India 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 fi nalise 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 fi lmmakers of different
countries to come together and make fi lms
under bilateral co–production agreements.
New markets and audiences would be available
for the product, especially if collaborations
and partnerships are between nationals of
different countries.
Each agreement identifi es 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.
The Agreements identify who the co-producers
can be, the minimum and maximum permissible
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 fi lmmakers. The fi lms
co-produced under these agreements are also
eligible for such fi nancing. Collaborations for
an Indian fi lmmaker would include knowledge
and use of different technical expertise and
processes, exchanges of styles of fi lmmaking,
sales and distribution of fi lms 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
direct public funds or subsidized co-production.
However, fi lmmakers can apply for fi nancial
support of co-production fi lm projects through
National Film Development Corporation.
di h i d A di Vi l
p
t
G
T
c
s
p
f
T
Film Sector Initiatives
Audio Visual Co-Production AgreementsIt is now possible for fi lmmakers of different countries
to come together and make fi lms under bilateral
co-production agreements.
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17Cannes Film Market
India has a huge advantage of being part of
a growing fi lm industry and a huge audience.
The other benefi ts are that the co-production
is treated exactly like a national fi lm 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 fi lmmaking. These are
coupled with the comparatively low costs of
fi lmmaking 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.
Film Sector Initiatives
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India Film Guide 2015 18
Soon, 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 certifi cation 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 certifi cation;
Classifi cation of certifi cation of fi lms 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 fi lm
industry. The proposed amendment seeks
to address this issue effectively by bringing
in stringent penal provisions for copy right
violations.
Online Certifi cation Process- The existing online
mechanism of Central Board of Film Certifi cation
would be strengthened and the entire certifi cation
process right from application stage to issuance
of certifi cate, 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.
Film Sector Initiatives
New Cinematograph ActThe Government is set to amend the Cinematograph
Act 2052, to enable it meet the present day challenges
and make the entire certifi cation process transparent
and speedy
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19Cannes Film Market
Film Sector Initiatives
Ministry 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
offi cials, 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 fi lm/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 cinemaThe Indian government has been taking a lot of
initiatives to do away with piracy.
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India Film Guide 2015 20
The 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 fi lm makers,
fi lm 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
Film Sector Initiatives
National Museum of Indian CinemaThe museum will be a ready-reckoner of the history of
Indian cinema during the past 100 years.
The Purpose and Objectives of the Museum
are to encapsulate the socio-cultural history
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 benefi t
of visitors/fi lm enthusiasts; To arrange
seminars, workshops for fi lmmakers & fi lm
students; To generate interest in the future
generation in the fi eld of fi lm movement.
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21Cannes Film Market
screening of fi lms, 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 fi lms to the studio period, and
then recreate the times when stars and mega
stars dominated the silver screen.
An Advisory Committee headed by renowned
fi lmmaker Shyam Benegal has guided the
Films Division in establishing the museum.
Visitors can also watch clips of old classics on a
number of monitors or listen to rare fi lm 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 fi lms to disseminate information during
war time, has also displayed old Eymo and
Mitchel cameras, recording equipment etc. 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.
Film Sector Initiatives
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India Film Guide 2015 22
The Ministry of Information &
Broadcasting has launched the National
Film Heritage Mission (NFHM) to digitize
best of Indian cinematic works and archive
them for the benefi t of future generations.
NFHM is now functional to take care of
digitization and restoration of fi lm heritage
and is being implemented by National Film
Archive of India, Pune.
NFHM’s aim is to restore and archive fi lms for
preservation and dissemination of Indian fi lm
cultural heritage. It will restore and conserve
precious and classic fi lms of the past 100
years of Indian cinema.
NFHM will also conduct training, workshops
and courses in fi eld of conservation,
preservation and archiving in co-ordination
with international agencies that are experts in
this fi eld.
The following are the objectives of the NFHM:
To undertake fi lm condition assessment of
the fi lm collection and to ascertain the left
over life of the fi lm.
Preventive conservation of fi lm reels.
2k/4k picture and sound restoration of
landmark feature fi lms and shorts of
Indian cinema and recording of new
picture and sound inter-negatives of each
fi lm.
Digitization of feature fi lms 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 fi lms for preservation and dissemination of Indian fi lm cultural heritage. It will restore and conserve
precious and classic fi lms of the past 100 years of Indian cinema.
Film Sector Initiatives
National Film Heritage MissionNational Film Heritage Mission’s aim is to restore and
archive fi lms for preservation and dissemination of
Indian fi lm cultural heritage.
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23Cannes Film Market
The 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 &
visual effects community to provide HR (effi cient
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 fi eld 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.
Film Sector Initiatives
National Centre for Excellence in Animation, Gaming and Visual EffectsThe 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.
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INDIAN FILMPRODUCTION CENTRES
Top fi lmmaking centres of India
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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
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Cannes Film Market 27
CURRENCY
RupeeTELEPHONE CODE
+91
TIME ZONE
ISTINTERNET
.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.
Indian Film Production Centres
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28 India Film Guide 2015
Indian Film Production Centres
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Cannes Film Market 29
Indian Film Production Centres
CUTTACK
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30 India Film Guide 2015
India 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?
The 1000-odd movies that the country annually
produces are made in a number of languages,
each with its own distinct literature, history,
theatre and music.
Indian fi lms are produced in several centres
around the country. Each of these fi lmmaking
cities serves as the hub of cinema in one
prominent language.
Mumbai, regarded as India’s movie capital,
hosts the Hindi fi lm industry that has a pan-
Indian footprint. Marathi-language fi lms 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 fi lms are produced.
While the distribution of these so-called
‘regional’ fi lms 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
Indian Film Production Centres
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Cannes Film Market 31
India is the largest fi lm producing
country in the world and its output
has a global reach. Here are top
fi lmmaking Indian cities which
serve as the hub of cinema in their
respective regional languages.
India is the largest fi lm producing
country in the world and its output
has a global reach. Here are top
fi lmmaking Indian cities which
serve as the hub of cinema in their
respective regional languages.
Indian fi lms are produced in several centres around the country. Each of these
fi lmmaking cities serves as the hub of cinema in one prominent language
Indian Film Production Centres
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32 India Film Guide 2015
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Cannes Film Market 33
A large chunk of the Hindi fi lms produced in
Mumbai constitute what is usually described
as Bollywood, a label used for a cinematic
tradition built on a crowd-pleasing mix of
melodrama, romance, moral confl ict and music.
MumbaiMaharashtra
The bustling western Indian metropolis is the heart of the Indian movie industry, producing nearly 200 fi lms a year in the
Hindi language.
It also, along with the nearby city of Pune, produces Marathi-language fi lms, 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 fi lms 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 confl ict and music.
This extravagant form of storytelling is extremely popular in the other fi lmmaking 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 fi lmmaking – 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 fi lm 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 fi lms in the late 1960s and 1970s, thanks to the efforts of directors like Shyam Benegal and Govind Nihalani.
Its fi lmmakers also drove the global spread of the Bollywood narrative idiom in the aftermath of major commercial successes in the past decade and a half.
Indian Film Production Centres
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Cannes Film Market 35
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.
ChennaiTamil Nadu
Chennai (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 fi lm 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 fi lm 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 offi ce 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 fi lms 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 fi lms from young directors working outside the conventional star system with great success.
For audiences around the country, Mani Ratnam, who also makes fi lms in Hindi, is one of the better known Chennai directors.
Indian Film Production Centres
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Cannes Film Market 37
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.
KolkataWest Bengal
Bengali-language cinema, known the world 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 fi lms here well before India’s offi cially recognized fi rst full-fl edged fi ction fi lm, 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 fi lms that struck a fi ne balance between artistic merit and commercial potential.
More than their counterparts in any of the other fi lm 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.
Indian Film Production Centres
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Cannes Film Market 39
On several occasions in the last decade,
Telugu fi lms accounted for more releases
in a year than cinema in any other Indian
language, including Hindi.
HyderabadAndhra Pradesh
Hyderabad is the hub of Telugu cinema, which is one of the most prolifi c 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 fi lms accounted for more releases in a year than cinema in any other Indian language, including Hindi.
Many big-budget Hindi and Tamil fi lms are offi cial 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 fi lms made in Malayalam and Tamil, but it continues to be the most robust of the southern industries.
Hyderabad has some of India’s best fi lm 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.
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Cannes Film Market 41
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.
ThiruvananthapuramKerala
Thiruvananthapuram (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 fi lms were made in the state in the silent era, cinema in Kerala was late to fl ourish and at the time of India’s Independence in 1947, only a handful of Malayalam fi lms 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 fi lm festivals around the world.
When Malayalam cinema began to assume the proportions of a full-fl edged 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 fi lms made by Adoor and Aravindan in the 1970s and 1980s. The tradition of making realistic and meaningful cinema continues to this day.
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Cannes Film Market 43
The 1950s marked the advent of
Dr. Rajkumar, whose popularity
as a lead actor in mythological epics helped
Kannada cinema achieve new heights.
In Bangalore, India’s Silicon Valley, fi lms are made in the Kannada language. The fi rst Kannada fi lm 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 fi nancial clout of Tamil and Telugu fi lms.
BangaloreKarnataka
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Cannes Film Market 45
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.
The 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 fi rst-ever Bhojpuri-language fi lm, 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 fi lms, 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 fi lms continue to be exceedingly popular. But since most of these fi lms are made on tight budgets and follow rushed production timelines, they tend to be rather low on technical fi nesse.
LucknowUttar Pradesh
PatnaBihar
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Cannes Film Market 47
Odia cinema developed its own idiom
thanks to the efforts of Gour Prasad Ghosh
and Parbati Ghosh. The duo produced
several National Award-winning fi lms,
including the epochal Kaa.
In the eastern Indian state of Odisha, fi lms are made in Bhubaneswar and Cuttack.
The fi rst Odia-language fi lm was made in 1936, but until the 1950s only a handful of more titles were produced.
Back then, the Odia fi lm industry did not have production facilities of its own. Films in the language had to depend on Kolkata, which made movie-making in Odisha diffi cult and unviable.
In the late 1950s, the fi rst cooperative venture to produce, distribute and exhibit Odia fi lms was set up by Krushna Chandra Tripathy.
The organization was named Utkal Chalachitra Pratisthan, and it produced several fi lms 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 fi lms. His fi rst 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 fi lms, 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 fi lms a year.
BhubaneswarOdisha
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Cannes Film Market 49
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.
Assamese fi lms, produced in north-eastern Guwahati, are a constant presence in India’s National Awards.
Yet the fi lm industry in Assam remains commercially unviable.
Constantly under the shadow of Bollywood fi lms, the state has not been able to develop a distribution and exhibition system that can prop up locally made fi lms 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 fi lmmaker Bhabendra Nath Saikia and the still-active Jahnu Barua shine bright.
GuwahatiAssam
And there is more…Besides the above production centres, fi lms are made in Manipuri in
Imphal, in Gujarati in Ahmedabad, and in Punjabi in Chandigarh. Indian
fi lms are also made in numerous dialects.
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Cannes Film Market 51
INDIAN FILM SECTOR
Higlights from FICCI-KPMG Report 2015
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Indian Film Sector Highlights
India Film Guide 2015 52
2014 could well be termed as the year of
‘introspection and reality check’ for the
Indian fi lm industry. During the year,
the gap between box offi ce collections of the
top 10 fi lms and the contribution of the rest of
the industry widened further. The category-A
fi lms with top league actors continued to
perform well at the box offi ce, however the
same was not true for fi lms 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 fi lms this year which
delivered high returns on investment, the
proportion of such fi lms 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 fi lms in theatres.
Television broadcasters became more
strategic with their fi lm acquisition budgets,
signifi cantly impacting the Cable & Satellite
rights (C&S) of most fi lms. While prices of
category-A fi lms continued to hold ground,
the rest of the fi lms took a beating either in
terms of price or ability to sell the title. There
were very few bulk deals and certain fi lms,
despite crossing INR1 billion at the box offi ce,
were unable to fi nd 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 benefi ts to the otherwise
fragmented industry.
Now, fi lm 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
far greater role in release of a fi lm. Additionally,
consolidation is stimulating growth in the in-
cinema advertisement platform. Advertisers
are now offered a far greater reach and
Films: New Growth ProspectsWith rising average ticket prices and availability of
alternate entertainment platforms, the audience today
seems to have become more discerning when it comes
to watching fi lms in theatres
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Indian Film Sector Highlights
53Cannes Film Market
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
better metric for measurement of the effi ciency
of the medium.For exhibitors the obvious
benefi t of economies of scale is being refl ected
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
profi tability 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
fi lm 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
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Indian Film Sector Highlights
India Film Guide 2015 54
INDIAN M&E
INDEX $1.5 billion
1500
826
161million 2014
Box Offi ce Collections
275million
Internet User base
175 million
Mobile Internet Users
Feature fi lms produced in India
960 millionMobile 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
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55Cannes Film Market
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%)
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Indian Film Sector Highlights
India Film Guide 2015 56
The Indian fi lm production landscape is
highly fragmented with a combination of
few renowned indigenous fi lm production
houses, international studios and numerous
independent fi lm 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 fi lms are produced in India by
bringing in leading industry practices of fi lm
production from western markets, thereby
increasing effi ciency 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
structure to the movie making business and have
upped their act to become more professional
and corporatised in their operations.
Increasing corporatisation and professionalism
in the fi lm fraternity has started to pave way for
the establishment of fi lm 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).
ProductionIncreasing corporatisation and professionalism in the
Indian fi lm fraternity has started to pave way for the
establishment of fi lm and entertainment focussed
investment funds
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57Cannes Film Market
Digitisation of screens has allowed
distributors to release fi lms
simultaneously across thousands of
screens, as a result of which almost 60-80 per
cent of theatrical revenues are now collected
in the fi rst week of release,06 compelling
fi lmmakers to generate enough buzz to attract
maximum footfalls within the fi rst weekend
itself.
Thus, marketing budgets which were negligible
a decade back, now account for a signifi cant
portion of the overall cost of production.
Additionally, fi lm 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 offi ce 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 fi lms with tight
budgets as there is a minimum spend required
to reach a threshold audience base. P&A cost
for a Category A fi lm (released across 3000+
screens) can be anything above INR200
million, for a Category B fi lm it could range
between INR 150-180 million and for a
Category C fi lm at least INR 100 million.
Given this backdrop, many fi lmmakers have
started exploring campaign and box-offi ce
analytics to gauge the effectiveness of their
campaign and take appropriate measures to
maximise the return on investments. Various
fi rms such as IBM, Persistent Systems, Google,
Prime Focus Technologies mGage, Ormax etc.
are now offering solutions especially designed
for the fi lmmakers to make strategic decisions
about their budgets, conduct costbenefi t
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
for any fi lm. The fi lmmakers consciously decide
to release their fi lms 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
offi ce.
DistributionLike box offi ce collections, the number of tweets,
Facebook likes and YouTube hits have also become
an important key performance indicator (KPI) for the
movie succes
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India Film Guide 2015 58
2014 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). Other prominent acquisitions included
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 fi lms. 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
offi ce collections for most Hindi fi lms.
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 fi rst three quarters and
slower growth in average ticket prices (ATP).
ExhibitionIn 2014 Indian fi lms further increased their reach.
Hindi fi lms ‘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
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Indian Film Sector Highlights
59Cannes Film Market
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 fi ve years.
The gross box offi ce collections of top 10
Hindi fi lms in 2014 grew by 2.4 per cent over
2013 collections and 11.7 per cent over 2012
collections. However, for the next 10 fi lms the
box offi ce 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 offi ce
collections of fi lms ranking 21 to 50 sliding
further compared to previous years (2012 and
2013). The drop has been extreme in case of
fi lms ranking 41 to 50 where the total box
offi ce collections of these fi lms 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 fi lms further increased their
reach. Hindi fi lms ‘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 fi lms. 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 fi lms 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.
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Indian Film Sector Highlights
India Film Guide 2015 60
2014 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 fi lm
industries undoubtedly left their mark at the
box offi ce in 2014. While the Marathi fi lm ‘Lai
Bhaari’ made with a budget of INR 80 million
had a box offi ce 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 offi ce. The Bengali fi lm industry did
not have a great year as the few category-A
fi lms 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 fi rst
Tamil movie to enjoy the widest release across
5,000 screens worldwide. Besides cashing in
big at the ticket counter, the Tamil fi lm industry
also stood out for its proclivity to produce
experimental fi lms 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 offi ce.
The Telugu fi lm industry, which is similar to
the Hindi fi lm 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 offi ce 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 fi lms shortlisted by the
Film Federation of India (FFI) for the 87th
Oscar Awards.
Individually, the Tamil industry needs to fi nd a
workaround to be able to offer enough cinema
screens to a movie, considering on an average
four to fi ve Tamil fi lms 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 fi lms still lag behind in terms
of content and production values, albeit the
rise in number of productions in a year.
Regional MarketsRegional 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
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Indian Film Sector Highlights
61Cannes Film Market
Bengali fi lms 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 fi lms as well. ‘Kaka Muttai’ and
‘Char Sahibzaade’ performed extremely well
in non-traditional markets such as Canada and
New Zealand.
Tamil fi lms 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 fi lm ‘I’ was
released across 5,000 screens in China alone.
The Punjabi fi lm 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.
Bengali fi lms are still restricted to fi lm festivals
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 offi ce performance of select regional fi lms
Movie Language Budget Gross Box Offi ce
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 littlegems outclassed big guns in southern cinema’
In INR millions
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Indian Film Sector Highlights
India Film Guide 2015 62
2014 was a good year for Hollywood fi lms
in India, the gross box offi ce collections
of top 10 fi lms 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 offi ce and generated
close to INR2.1 billion30 in gross box-offi ce
collections in India.
Though franchise and superhero movies draw
wider audience, small budget movies with
stronger scripts have also performed well.
Top 10 Hollywood fi lms 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 IndiaThe 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
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Indian Film Sector Highlights
63Cannes Film Market
‘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-
offi ce collections in their respective opening
weekends.
Initially aimed at the English speaking Indian
audience, fi lm 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 offi cially become the fi rst Hollywood fi lm to enter Rs.100 crore club in India.The James Wan-directed movie - which is the last fi lm in the series to star late actor Paul Walker - hit the impressive fi gure in a three weekends. The fi lm has earned Rs.104 crore net till now in the domestic box offi ce. (April 20, 2015). Apart from English, the fi lm released in Hindi, Tamil and Telugu on April 2 in India.
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Indian Film Sector Highlights
India Film Guide 2015 64
While 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
effi cacy 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 affl uent
demographics for whom consumption habits
have shifted signifi cantly 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 fi tness 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 ContentFor all the convenience and fl exibility of streaming
content on to smartphones and tablets, the viewing
experience on a high-defi nition 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
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Indian Film Sector Highlights
65Cannes Film Market
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
Bigfl ix• ~ 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
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Indian Film Sector Highlights
India Film Guide 2015 66
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• 150 live TV channels
• Catch up TV content from 13 channels
• Movies
Direct2Mobile• 78 live TV channels
• 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 fi lm 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 signifi cant 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
As a result, some digital platforms are using the
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.
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Indian Film Sector Highlights
67Cannes Film Market
OVER-THE-TOP DEVICES: THE FUTURE
TREND
For all the convenience and fl exibility of
streaming content on to smartphones and
tablets, the viewing experience on a high-
defi nition 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/Internet
STBs on account of high cost of replacement
of smart TVs, better user interfaces on OTT
devices, shortening technology life cycles,
and diffi culty 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 wellWhile 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 fl ows 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 Netfl ix are on a
fi xed cost basis and content costs constituted over 70 per cent
of revenues for Netfl ix in 2014.
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INDIAN FILMS AT CANNES
Offi cial Film Selections from India at Cannes International Film Festival
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70 India Film Guide 2015
Indian Films at Cannes
UN CERTAIN REGARD
CHAUTHI KOOTby 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 fi nds himself trapped between the army and the extremists.
International Sales Contact:
Elle Driver
Eva Diederix, Managing [email protected]
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
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Cannes Film Market 71
Indian Films at Cannes
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
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72 India Film Guide 2015
Indian Films at Cannes
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,[email protected]
Screening Date and Time:
19th May, at 5PM.
Un Certain Regard
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Cannes Film Market 73
Indian Films at Cannes
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
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75Cannes Film Market
NATIONAL FILM AWARDS
Winners of the 62nd National Film Awards for the year 2014
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India Film Guide 2015 76
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 fi lm’s
form, forcing us to refl ect
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 fi nesse.
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 PicturesDirector: 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.
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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 fi nally chart her own course with confi dence and dignity.
Ottaal (Malayalam)
Producer: Director Cutz Film Company (P) Ltd.Director: Jayaraj
Rajat Kamal and` 1,50,000/- each to the Producer and Director
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 CompanyDirector: Manikandan M
&
Elizabeth Ekadashi (Marathi)
Producer: Essel Vision Productions Ltd.Director: Paresh Mokashi
Swarna Kamal and` 1,50,000/- each to the Producer and Director(Cash component to be shared between fi lms)
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 reaffi rms 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 refl exive use of the cinematic idiom through a playful and innovative mise-en-scene that tautens to an unexpected and gripping climax.
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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 specifi city 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 Mafi a don who plays both the villain and the comic with a rare fl amboyance 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.
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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 refl ects 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.
Chotushkone (Bengali)
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 fi lm.
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Indian National Film Awards 2014
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/-
For capturing the essence of the characters and moods with creative fl ourish.
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)Chotushkone (Bengali)
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) DialoguesHaider (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
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BEST MUSIC DIRECTION
i) Songs
Haider (Hindi)
Vishal Bhardwaj
Rajat Kamal and` 50,000/-
For developing the confl ict of the inner and outer landscape through haunting music.
ii) Background Score
1983 (Malayalam))
Gopi Sunder
Rajat Kamal and` 50,000/-
For maintaining the tempo of the fi lm 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 fi nal 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
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Indian National Film Awards 2014
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 fi rmly 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.
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BEST HINDI FILM
QueenProducer: Phantom Films Pvt. Ltd. & Viacom 18 Motion PicturesDirector: Vikas Bahl
Rajat Kamal and` 1,00,000/- each to the Producer and Director
For a delightful portrayal of a young girl who emerges from her cocoon of diffi dence and middleclass mores to discover the pleasure and fulfi llment of a life lived on her own terms.
OthelloProducer: Artha FilmsDirector: Hemanta Kumar Das
Rajat Kamal and` 1,00,000/- each to the Producer and Director
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
NirbashitoProducer: Kaushik Ganguly ProductionsDirector: Churni Ganguly
Rajat Kamal and` 1,00,000/- each to the Producer and Director
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
HarivuProducer: Om StudioDirector: Manjunath S. (Mansore)
Rajat Kamal and1,00,000/- 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.
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BEST KONKANI FILM
Nachom – IA KumpasarProducer: Goa Folklore Productions
Director: Bardroy Barretto
Rajat Kamal and` 1,00,000/- each to the Producer and Director
For its nostalgic recovery of a distinctive musical legacy, as told through the rollercoaster lives of its practitioners, that has remained unsung despite its infl uence upon Bombay cinema.
AinProducer: 1: 1: EnternatmentsDirector: Sidhartha Siva
Rajat Kamal and` 1,00,000/- each to the Producer and Director
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
KillaProducer: JAR Pictures & M R Film WorksDirector: Avinash Arun
Rajat Kamal and` 1,00,000/- each to the Producer and Director
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 CorporationDirector: 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.
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BEST PUNJABI FILM
Punjab 1984Producer: White Hill Production India Pvt. Ltd.
Director: Anurag Singh
Rajat Kamal and` 1,00,000/- each to the Producer and Director
For its searing portrayal of how ordinary lives and simple dreams are shattered in a time of militancy.
Chandamama KathaluProducer: Working Dream Production
Director: Praven Sattaru
Rajat Kamal and` 1,00,000/- each to the Producer and Director
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
OrongProducer: Suraj Kr. Duwarah, Aucto Creation
Director: Suraj Kr. Duwarah
Rajat Kamal and` 1,00,000/- each to the Producer and Director
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 HonourProducer: V R Entertainers
Director: Rajeev Bhatia
Rajat Kamal and` 1,00,000/- each to the Producer and Director
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.
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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 DivisionDirector: Torsha Banerjee
Swarna Kamal and` 1,50,000/- each to the Producer and Director
For its sensitive and lyrical portrayal of ten-year-old Hassirbullah, who, though visually challenged, creates a symphony of sounds. The fi lm captures his universe, his life and his talent, softly and gently.
BEST NON FEATURE FILM
BEST DEBUT FILM OF A DIRECTOR
Goonga PahalwanProducer: Drishti MediaDirector: Mit Jani, Prateek Gupta & Vivek Chaudhary
Rajat Kamal and` 75,000/- each to the Producer and Director*
For its fun, yet mature portrayal of its protagonist, a champion 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 TrustDirector: 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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BEST FILM ON SOCIAL ISSUES
Can’t Take This Shit Anymore
Producer: Bhagirathi Films
Director: Vinod Kapri
For incisively highlighting the acute desperation of rural women and the problems they face from the lack of basic and essential facilities for sanitation.
Daughters of Mother India
Producer: V2 Film & Design Pvt. Ltd.
Director: Vibha Bakshi
Rajat Kamal and` 50,000/- each to the Producer & Director (cash component to be shared)
For explicitly and determinedly turning the spotlight on the burning issue of rape in the country and the brutal mentality that drives it.
Aamaar Katha : Story of BinodiniProducer: Films DivisionDirector: Tuhinabha Majumdar
Rajat Kamal and` 50,000/- each to the Producer and Director
For its stylistic and poetic portrayal of the 19th century theatre actress Binodini Devi’s autobiography.
BEST BIOGRAPHICAL/ HISTORICAL RECONSTRUCTION
BEST ARTS / CULTURAL FILM
Kapila
Producer: Films Division
Director: Sanju Surendran
Rajat Kamal and` 50,000/- each to the Producer & Director
For its unique and expressive rendering of Kapila’s sheer artistry over Kudiyattam, the world’s oldest theatrical art form.
BEST PROMOTIONAL FILM (to cover tourism, exports, crafts, industry etc)
Documentation of Clay Image Makers of Kumartuli Producer: Indira Gandhi National Centre for the Arts
Director: Ranajit Ray
Rajat Kamal and` 50,000/- each to the Producer & Director
For its extensive study of the craft and community of the clay makers in the context of changing times.
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BEST ENVIRONMENT
FILM INCLUDING AGRICULTURE
I Cannot Give You My Forest
Producer: Top Quark Films Pvt. Ltd.
Director: Nandan Saxena & Kavita Bahl
Rajat Kamal and` 50,000/- each to the Producer & Director
For its concerned and empathetic exploration of the tribal communities in Rayagada, Orissa, who derive their sustenance and identity from the forest.
Life Force – India’s Western Ghats
Producer: Grey Films India Pvt. Ltd.
Director: Nallamuthu Subbiah
Rajat Kamal and` 50,000/- each to the Producer & Director
For taking the viewer deep into the Western Ghats and engagingly revealing its rare and incredible biodiversity.
BEST EXPLORATION/ ADVENTURE FILM (TO INCLUDE SPORTS)
BEST INVESTIGATIVE FILM
Phum ShangProducer: Films Division
Director: Haobam Paban Kumar
Rajat Kamal and` 50,000/- each to the Producer & Director
For its quiet and fair-hearted investigation of the fi shermen communities and their fl oating dwellings on Loktak Lake, Manipur, even as government agencies and conservationists struggle to save the lake.
BEST EDUCATIONAL FILM
KomalProducer: Climb Media India Pvt. Ltd.
Director: Prashant Shikare
KOMAL – For effectively and concisely communicating essential information to children to protect themselves from sexual abuse.
Behind the Glass WallProducer: Gaahimedia
Director: Aruna Raje Patil
Rajat Kamal and ` 50,000/- (cash component to be shared)
BEHIND THE GLASS WALL –For its exhaustive exploration of the world and challenges of the autistic and their caregivers.
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BEST SHORT FICTION FILM
MitraaProducer: Athaansh Communications
Director: Ravindra Jadhav
Rajat Kamal and` 50,000/- each to the Producer & Director
For its empathetic portrayal of its pivotal character’s sexual orientation, and the question of freedom around it. Shot in monochrome, the fi lm adds to the antiquity for the era it is set in.
Sound of JoyProducer: Aura Cinematics
Director: Sukankan Roy
Animator: Rishi Sanay
Rajat Kamal and ` 50,000/- each to the Producer, Director and Animator
For its fl owing and engaging animation style in telling the stories from Vivekananda’s childhood and its emphasis on developing the power of concentration.
BEST ANIMATION FILM
SPECIAL JURY AWARD
A Poet, A City & A FootballerProducer: Films Division
Director: Joshy Joseph
Rajat Kamal and ` 50,000/-each to the Producer and Director
For demonstrating the power of cinema in weaving together life, poetry and refl ections of its protagonist in the face of impending death.
BEST FILM ON FAMILY VALUES
Towards the Silver LiningProducer: Satyajit Ray Film & Television Institute
Director: Bhabani Tamuli
Rajat Kamal and ` 50,000/- each to the Producer and Director
For its sensitive portrayal of a paraplegic girl who builds a house for her mother, and the touching bond between them.
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BEST DIRECTION
AaranyakRenu Savant
Swarna Kamal and` 1,50,000/-
For its existential defi nition of layered thoughts and emotion that move through a refl ective search to end in an ironic arrival into the real.
Aamaar Katha: Story of Binodini Indraneel Lahiri
Rajat Kamal and ` 50,000/- to Cameraman
For its stunning and sensual visual imagery that brings the story of Binodini alive.
BEST CINEMATOGRAPHY
BEST AUDIOGRAPHY
Tender is the Sight
Audiographers: Anindit Roy, Ateesh Chattopadhyay, &
Ayan Bhattacharya
Rajat Kamal and ` 50,000/-*
The fi lm travels through the imaginary line of manifest and unmanifest worlds of visual and sound that balance effortlessly, imprinting the audience with a haunting aural experience.
SPECIAL MENTION
Gunjaa
Director: Mrinal Dev
Certifi cate
For poignantly telling the story of Gunjaa, a young girl in Bihar, and her innocent but ironic understanding of death.
Seek and Hide
Director: Manoj Kumar Nitharwal
Certifi cate
For its fi ne juxtaposition of a child’s expression of fear with the unawareness of the parents to elucidate a complex story of paedophelia.
5 O’Clock AccidentsDirector: Ruchir Arun
Certifi cate
For its gritty story and compelling treatment of a voyeuristic teenager and the darkness that comes with his obsession.
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BEST NARRATION / VOICE OVERBEST EDITING
Nitya Kalyani – Oru Mohiniyattam PathamAmbooty and Devi S
Rajat Kamal and` 50,000/-
For the depth of its research and its poetic rendition of the history of Mohinyattam across the mighty empires along the riverbanks of Tungabhadra to Thanjavur.
Tigress BloodAndi Campbell Waite
Rajat Kamal and` 50,000/-
For seamlessly structuring the inner worlds of four tigress sisters through an incisive cinematic arrangement of their outer spaces.
BEST WRITING ON CINEMA
BEST BOOK ON CINEMA SPECIAL MENTION BEST FILM
CRITIC
Silent Cinema: (1895-1930)Author: Pasupuleti Purnachandra Rao
Swarna Kamal and 75000 to the author
Publisher: EMESCO BOOKS
Swarna Kamal and ` 75000 to the Publisher:
Pasupuleti Purnachandra Rao’s work on silent cinema commands attention. It is as worthy of a scholar’s consideration as a common cinegoer’s time. He walks down the memory lane to come up with a work that is likely to go down as a benchmark for serious research in Indian cinema.
Pride of Tamil Cinema (1931-2013)G. Dhananjayan
Only Certifi cate
G. Dhananjayan’s Pride of Tamil Cinema deserves careful consideration for the sheer expanse of the work. The book is a painstaking effort which will have a relevance many years down the line.
Tanul ThakurSwarna Kamal and` 75000/- to the Critic: Tanul Thakur
Tanul Thakur’s work is like a breath of fresh air. In brevity lies the strength of Thakur’s analysis of crests and troughs of Indian cinema. Without being didactic, Thakur is able to provide a different perspective to seemingly disparate elements and string them together in a lucid fashion.
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DADASAHEB PHALKE AWARD WINNERS
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94 India Film Guide 2015
Dadasaheb Phalke Award
Dadasaheb Phalke AwardThe Award was introduced in 1969 by the government
to recognise the contribution of fi lm personalities
towards the development of Indian Cinema
Devika Rani Roerich
1969B.N. Sircar
1970Prithviraj Kapoor
1971
Pankaj Mullick
1972Sulochana (Ruby Myers)
1973B.N. Reddy
1974
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Dadasaheb Phalke Award
Dhiren Ganguly
1975Kanan Devi
1976Nitin Bose
1977
R.C. Boral
1978Sohrab Modi
1979P. Jairaj
1980
Naushad Ali
1981L.V. Prasad
1982Durga Khote
1983
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96 India Film Guide 2015
Dadasaheb Phalke Award
Satyajit Ray
1984V. Shantaram
1985B.Nagi Reddy
1986
Raj Kapoor
1987Ashok Kumar
1988Lata Mangeshkar
1989
To honour the Father of Indian Cinema, Dhundiraj Govind Phalke, the National
Film Awards named the most prestigious and coveted award of Indian Cinema after him. He is the man who made
the fi rst Indian Feature fi lm Raja Harishchandra in 1913
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Dadasaheb Phalke Award
A. Nargeswara Rao
1990B.G. Pendharkar
1991Dr. Bhupen Hazarika
1992
Shivaji Ganesan
1996Kavi Pradeep
1997B.R. Chopra
1998
Majrooh Sultanpuri
1993Dilip Kumar
1994Dr. Rajkumar
1995
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98 India Film Guide 2015
Dadasaheb Phalke Award
Hrishikesh Mukherjee
1999Asha Bhosle
2000Yash Chopra
2001
Dev Anand
2002Mrinal Sen
2003Adoor Gopalakrishnan
2004
Shyam Benegal
2005Tapan Sinha
2006Manna Dey
2007
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Cannes Film Market 99
Dadasaheb Phalke Award
V.K. Murthy
2008D. Ramanaidu
2009K. Balachander
2010
Soumitra Chatterjee
2011
Shashi Kapoor
2014
Pran
2012Gulzar
2013
Dadasaheb Phalke Award is given to a fi lm personality
for his/her outstanding contribution to the growth and development of Indian
Cinema. The award comprises a Swarna Kamal, a cash Prize
of Rs. 10,00,000/- (Rupees Ten Lakhs) and a shawl.
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101Cannes Film Market
PEOPLE
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COL RAJYAVARDHAN RATHORE • Minister of State for Information & Broadcasting
K SANJAY MURTHY • JS (Films) • jsfi [email protected]
The Ministry of Information & Broadcasting in association with Federation of Indian Chambers of Commerce and Industry participate in the Cannes Film Market to project Indian cinema, facilitate to syndicate and market Indian fi lms and fi lm services in India.
The India Pavilion at Cannes will provide a platform for the Indian fi lmmakers and producers (mainstream and independent) to market Indian fi lms with international territories and engage in co-production with Europe.
The objective is to boost the profi le of Indian fi lms, facilitate business to business meetings, production services and Indian locales to the world. The India Pavilion will have representation from across the country and participation including production companies, line producers, post production studios and exporters. There would be a team available for answering queries from delegates. Shooting location guides and tourism brochures would be kept in India Pavilion for distribution to delegates.
MINISTRY OF INFORMATION & BROADCASTING
C SENTHIL RAJAN • Director, DFF• [email protected]
RIZWAN AHAMD • Deputy Director DFF/IFFI• [email protected]
TANU RAI • Deputy Director DFF/IFFI• [email protected]
Directorate of Film Festivals (DFF) was set up by the Government of India in 1973 to organize International and National Film Festivals within the country. DFF facilitates India’s participation in Festivals abroad, arranges programmes of foreign fi lms in India and Indian fi lms abroad and holds the National Film Awards function.
As a vehicle of Cultural Exchange, DFF promotes International friendship, provides access to new trends in world Cinema, generates healthy competition and, in the process, helps to improve the standards of Indian Films.
DIRECTORATE OF FILM FESTIVALS
International Film Festival of India aims at providing a common platform for the cinemas of the world to project the excellence of the fi lm art; contributing to the understanding and appreciation of fi lm cultures of different nations in the context of their social and cultural ethos; and promoting friendship and cooperation among people of the world. The 46th edition of IFFI is slated for November 20-30, 2015 in Goa.
The IFFI’s founding principles centre on discovery, promotion and support of fi lmmaking of all genres – thus bringing together the diversity of the forms, aesthetics and contents. The Festival is an assembly of people and nations where the world’s greatest fi lm artistes hold hands with emerging talents on an equal footing. It is also a forum for fi lm professionals to communicate face to face with fi lm lovers around the world.
INTERNATIONAL FILM FESTIVAL OF INDIA
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Federation of Indian Chambers of Commerce and Industry (FICCI) will be managing the India Pavilion at Cannes Film Market under the aegis of the Ministry of Information & Broadcasting, Government of India. The objective of the India Pavilion is to promote Indian cinema across linguistic, cultural and regional diversity, with the aim of forging an increasing number of international partnerships in the realms of distribution, production, fi lming in India, script development and technology, and Promoting fi lm sales and syndication. Established in 1927, FICCI is the largest and oldest apex business organization in India. A not-for-profi t organization, FICCI is the voice of India’s business and industry, encouraging debate, articulating the private sector’s views and infl uencing policy.
One of FICCI’s most important objectives is to facilitate communication and exchange between key industry fi gures, infl uencers and policy makers. To this end, the FICCI Media and Entertainment Division organizes
FICCI FRAMES, Asia’s largest and most defi nitive annual global convention on the business of entertainment. The 16th edition of FICCI FRAMES, FICCI’s fl agship event and Asia’s largest and most defi nitive annual global convention on the business of entertainment, will be held in Mumbai. Can be reached at the India Pavilion, 111 Village International Riviera.
FEDERATION OF INDIAN CHAMBERS OF COMMERCE AND INDUSTRY (FICCI)
MEET US AT INDIA PAVILLION, 111 VILLAGE INTERNATIONAL,
CANNES
LEENA JAISANI • Senior Director & Head -Entertainment Division • leena.jaisani@fi cci.com
SAMIR KUMAR • Deputy Director • samir.kumar@fi cci.com
VIKAS SARVANG • Deputy Director
DHARMENDER SINGH • Executive
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MATHEW GEORGE • Managing Partner • [email protected]
Anurag Pictures was formed in 1990. We are exporters and importers of feature fi lms for distribution in theaters. There are two partners Mr. Mathew George and his son Mr. George Mathew.
ANURAG PICTURES
BHAVNA ISRANI • Head of Business Development [email protected]
VIVEIK TEWARI • Managing Director
Films. Music. Distribution. The literal meaning of Aghor is A + Ghor meaning non terrible. Aghor, simply put, means ‘the simplest’. Aghor Raj in the truest sense means the ‘rule of the simplest’. We at Aghor Raj, believe he who is simple and uncomplicated will rule the world. We apply the same philosophy when it comes to our work. The simpler the means of entertainment – the more it engages the audience.Objective : Films, music and television in India are the biggest avenues for entertainment. Aghor Raj Productions Pvt Ltd strives to bring to you cinema that believes in strong narrative and engaging characters. Aghor Raj Music India Pvt Ltd vouches to bring to the music lovers, music that is pure and serene. Our goal is to be a one-stop hub for all entertainment.
AGHOR RAJ PRODUCTIONS PVT LTD
SUNIL DOSHI • CEO • [email protected]
Alliance Media & Entertainment Pvt Ltd is a company with interest in acquisition, distribution, talent management, advertising and fi lm production. Objective at Cannes: Acquisition (including remake rights) of Film, Short Films and Documentaries Content for non-traditional distribution in India.We enjoy a good business relationship with major European & Other World Sales Agents such as Wild Bunch, Celluloid Dreams, FilmSharks, Co-production Offi ce, Memento, Pyramide International, Films Distribution, The Match Factory, Bavaria Films, Studio Canal, MK2, Pathe, Finecut, Becker Films, SVT, AB Svenska, etc.Alliance also through its division Handmade Films which is a boutique production house aims to produce high quality of fi lms which are different, unique and out of the box in their approach, form and content.
ALLIANCE MEDIA & ENTERTAINMENT PVT. LTD
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105Cannes Film Market
NAGA SOBHANADRI YARLAGADDA • CEO • [email protected]
Founded in 2001, Arka Mediaworks is one of the leading TV and Movie production houses in India. Arka has many successful long running TV shows and currently produces 6 TV serials across several Indian languages. As a movie production house, Arka has produced several successful and critically acclaimed fi lms such as “Maryada Ramanna” and “Vedam”. Arka is currently producing “Baahubali”, a two part Indian epic directed by director SS Rajamouli.Objective: Scheduled to release worldwide in Summer 2015, Baahubali is one of the largest fi lms to be produced by a media house in India. Our objective is to get the widest possible international release for this fi lm.
ARKA MEDIAWORKS (P) LIMITED
GURMEET SINGH • Managing Director • [email protected]
Blockbuster Moviesss Pvt. Ltd. is the brain child of Mr. Gurmeet Singh who is also the Chairman and Managing Director of the GCS Group of companies based out of Chandigarh. GCS Group is a Rs 400 million group that has been in the business of imparting education, through the length and breadth of the country for over two decades now. Blockbuster Moviesss has already co-produced a couple of ventures so far that would be presented nationally and internationally in the following few months. Our objective here is to creative commercially viable productions, that would be all out entertainers and viewable by the family. Our prime focus would be on stories/movies that give a strong social message and this would be our contribution to the society. These would be of all genres to suit all age groups with no bar of language discrimination or of any other kind.
BLOCKBUSTERS MOVIESSS PRIVATE LIMITED
KATHARINA SUCKALE • COO / Producer [email protected]
Bombay Berlin Film Production [BBFP] is a company based in Mumbai, India. At Cannes Film Market, BBFP looks forward to meet investors, distributors and world sales companies for two fi lm projects for the International as well as the Indian market. It also looks forward to meet producers and broadcasters, who search for line producers in India, who have experience in producing in the West as well as in India.As an Indian-German company based in Berlin and Mumbai we produce fi lms for cinema and television for the international market. We have been EP on the fi lm “Prague”, released in 2013, co producer on the US-Indian feature “Monologue”, developer of an animation series and other line production services. We are in post-production of our latest German-Indian-US co-production “LOEV”.
BOMBAY BERLIN FILM PRODUCTION LLP
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AMITA SARKAR • Deputy Director General • [email protected]
ANAMIKA KALIA • Deputy Director • [email protected]
KAVITA SAINI • Executive Offi cer • [email protected]
The Confederation of Indian Industry (CII) works to create and sustain an environment conducive to the development of India, partnering industry, Government, and civil society, through advisory and consultative processes. CII has been coordinating the India participation at the Cannes Film Market for over a decade, positioning the Indian Entertainment industry on the global landscape. Apart from promoting select Indian states as ideal shooting locales globally, the CII in their booth in Palais would also be coordinating B2B meetings between Indian and international stakeholders. CII M&E division’s annual fl agship conference ‘The Big Picture Summit’ would take place on 19-20 September 2014 at New Delhi with the objective of “Taking Indian M&E industry to $100 billion”. The theme for this year is ‘Make in India, Show the World’. We cordially invite international delegations and participation for the Summit. Can be reached at PALAIS 01 Stand 22.02.
CONFEDERATION OF INDIAN INDUSTRY
SHOMSHUKLLA DAS • Director • [email protected]
UDITVANU DAS • Actor
Cut to Cut is an independent feature fi lm production company based out of Mumbai, India. Cut to Cut has produced the award winning features fi lms such as Sandcastle (Best Cinematography, Tenerife IFF 2013), A Holiday & A Picnic (Best Cinematography, Madrid IFF 2014, Best Male Lead, IFF World Cinema 2015). Their latest offering is a psychological horror fi lm, Hopscotch.Objective : To showcase an award winning woman director and team driven thoughtful independent cinema to a global audience
CUT TO CUT
RAVI MUPPA • Head of Development •[email protected]
The production company is behind hit Bollywood fi lms such as Shor in the City, Happy Ending, Go Goa Gone, 99 and Flavors. Owners Raj Nidimoru and Krishna DK, are a directing duo and have won many awards and accolades for their unique story telling and fresh sense of humor. Their quest to explore various formats of storytelling through fi lms, TV content and New media has resulted in the formation of D2R Films.
D2R FILMS
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107Cannes Film Market
NEHA KAUL • Head - Intl Distribution, Syndication• [email protected]
MAMTA KAMTIKAR • Senior Manager - Intl Distribution, Syndication • [email protected]
SNEHA SINGH • Senior Associate - Intl Distribution, Syndication • [email protected]
Bringing together the best of both worlds, the Walt Disney Company and UTV have formed Disney India Studios - one of the leading fi lm studios in the country. The activities of Disney India Studios span across creative development, production, marketing, distribution, licensing, merchandising and syndication of fi lms worldwide. Objective : Showcase of the current line up and commercial exploitation of theatrical and non-theatrical rights of library content for European, South Asian, North Africa, Middle East, Russia, Far East and South/Latin American markets. Our lead products for the season are ABCD 2, Phantom, Katti Batti and Jagga Jasoos. Other popular titles are PK , Haider,, Kick, Khoobsurat. Also on offer is the studio’s award-winning library of iconic Indian fi lms.
DISNEY INDIA
LAURENT AMAR • Directeur des relations publiques internationales • [email protected]
DQ Entertainment International is engaged in high-end 3D & 3D Stereoscopic TV & Movie productions of global Intellectual Properties such as The Jungle Book, Iron Man I & II, Casper I & II, Lassie & Friends, Charlie Chaplin – the Legend, Little Prince TV Series & Movie, Little Nicolas TV Series & Movie, ThePenguins of Madagascar,( for Nickelodeon) - 2 seasons and several others. The company has also developed TV movies and series for the Indian market with Disney India, Nick ndia and Cartoon Network. DQ Entertainment produces animated children’s content for worldwide licensing and distribution alongside partners such as Walt Disney Television Animation ( for service) Nickelodeon ( for service), major French broadcasters TF-1/ M6/ France Televisions, major German broadcasters – ZDF Group, Italian broadcasters – RAI Fiction & RAI Films, Al Jazeera (for 22 Arabic nations) and several other leading producers such as Classic Media-USA, Method Animation-France, Moonscoop-France, Gaumont Alphanim-France etc.
DQ ENTERTAINMENT INTERNATIONAL LIMITED
RAMESH TEKWANI • President • [email protected]
Docs & Shorts has been created to help the movie makers keep abreast of opportunities, techniques and technology to make their movies, introduce their movies to audiences at festivals, in theatres;If you are looking for good documentaries, shorts and good alternative content, especially from IndiaContact Ramesh Tekwani, President, Academy of Research and Production for Docs & Shorts,Independent Cinema and Alternate Content. Quite simply put “Docs & Shorts®”. (www.docsandshorts.org).
DOCS & SHORTS
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MANISH MUNDRA • Founder and Promoter • manish@drishyamfi lms.com
SVETLANA NAUDIYAL • International Sales and Promotion • [email protected]
SHRADDHA CHAUHAN • Distribution and Marketing • shraddha@drishyamfi lms.com
We are a production company, looking forward to build a platform for unique voices of Indian independent cinema and creating global content with rich Indian fl avours. Masaan (Cannes 2015), Dhanak (Berlinale 2015) and Umrika (Sundance 2015), are some of our recent productions. Our upcoming fi lms include feature drama Waiting by Anu Menon and experimental collaborative feature X-the fi lm by eleven Indian directors.
DRISHYAM FILMS
NILA MADHAB PANDA • Director • [email protected]
Eleeanora Images has produced over 70 documentaries, TVC’s, Short fi lms and drama, two mega TV serials and four feature fi lms. The larger aim, though, has always remained to produce cinema aimed at sections across the society, audiences, age groups and genres with a global perspective. The founder and managing director Nila Madhab Panda’s vision has shown the outcome through the organisation.The last two major fi lm productions have been very successful. The highly acclaimed I Am Kalam, has already won 28 International awards, one national award, two Industry award (Filmfare and screen) and several nominations, which travelled over 60 International fi lm festivals. The second fi lm “Jalpari the desert Mermaid” well received critically acclaimed as well as well received by the audience.
ELEEANORA IMAGES
AVI VASU • Director • [email protected]
AKSHATA HONAWAR • Executive Producer
Stories form the backbone of everything we do. Anything we work on is structured on the story it represents. Whether is a visual or a literary medium we employ, the essence of the story is the strongest component. And what makes good stories are great characters. At Erango, we aim to create unforgettable characters that live extraordinary stories.Objective : Our mission is to create productions which will be India’s unique contribution to the world of art. Exceptional ideas, Captivating stories, Filmic creativity, Leading edge expertise all come together under one banner ‘Erango’
ERANGO MEDIA
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109Cannes Film Market
GIRISH JOHAR • Film Division Revenue Head • [email protected]
AKASH CHAWLA • Business Head - Essel Vision Productions Ltd
With an ardour to create different content and an attempt to strike a balance between the quality and business of feature fi lms and television, Essel Vision Productions was instituted in June 2012 as a part of Essel Group of Companies. The company has already made a mark on the map of Television and Feature Films; both in Hindi and Marathi space.With a glorious past of fi lms like Gadar, Gulaal, Natrang, Kaaksparsh, Essel Vision has taken its fresh humble beginnings to another high with the historical success of its Marathi venture ‘Duniyadaari’ and the critical reception of ‘D Day’. Its other creation ‘The Lunchbox’ has already received accolades around the world. In the television space also, the company is holding its fl ag high
ESSEL VISION PRODUCTION LTD
KUMAR AHUJA • President - Business Development• [email protected]
PRANAB KAPADIA • President Marketing & Distribution• [email protected]
ALICE COELHO • President - Business Development• [email protected]
Eros International Media Ltd is a leading global company in the Indian fi lm entertainment industry that acquires, co-produces and distributes Indian fi lms across all available formats such as cinema, television and digital new media. Eros International is part of Eros International Plc, which became the fi rst Indian media Company to raise capital and be listed on the New York Stock Exchange. Eros International has experience of over three decades in establishing a global platform for Indian cinema. The Company has a competitive advantage through its extensive and growing movie library comprising of over 1,200 fi lms, which include Hindi, Tamil, and other regional language fi lms for home entertainment distribution. Eros International has built a dynamic business model by combining the release of new fi lms every year with the exploitation of its fi lm library.
EROS ENTERTAINMENT
MUTHUVELU KUMAR • Chief Operating Offi cer• kumar@fairfi lms.in
FAIR FILMS is a istributor of Engish and non English fi lms to India and SAARC countries. Our main activities are fi lm distribution, animation series, children’s programmes, reality shows. We are looking for different kinds of feature fi lms, TV series, reality shows for India and SAARC. We are looking for different kinds of feature fi lms.
FAIR FILMS
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KEITH GOMES • Director - Producer• [email protected]
Faizee Production was founded in 2006, and our fi rst feature production Shagird directed by National award winning director Tigmanshu Dhulia. The fi lm released in 2010. Currently in production is a regional feature Masti and Mystery which is slated for a 2015 release.
FAIZEE PRODUCTION
KULMEET MAKKAR • Chief Executive Offi cer • kulmeet@fi lmtvguildindia.org
GUILD - Enhancing the value of Cinematic Arts- The Film & Television Producers Guild of India Limited is an autonomous non-profi t premier fi lm trade body comprising of industry stakeholders, is to be a principal negotiator with the Government on various critical issues, resolving intra and external trade disputes of the industry, liaising with foreign delegations to provide international exposure for its members, arranging conclaves for the benefi t of members. Established in 1954 by the stalwarts of the Indian fi lm industry including B.N. Sircar, S. Mukherjee, The Film & TV Producers Guild is today the most progressive body in show business.. Over the years, the Guild has also been instrumental in organizing fund raisers such as Help Telethon Concert in aid of tsunami victims and seminars & conventions with infl uential trade bodies like FICCI and CII. Also, the Guild has instituted the Apsara Film & Television Producers Guild Awards for excellence in fi lm and television.
FILM & TELEVISION PRODUCERS GUILD OF INDIA LTD
TRIPAT PAUL AGGARWAL • Vice President • [email protected]
RAVI KOTTARAKARA • Vice President • kotfi [email protected]
K S RAMA RAO • Vice President FFI
SUPRAN SEN • Secretary General • supransen.fi [email protected]
The Film Federation of India (FFI) is an apex body of the Indian fi lm producers , distributors, exhibitors and studio owners. The primary objective of the Federation is to promote commerce in general and in particular to promote, protect and watch over the interests of the Indian Film Industry and allied industries and trades, including the interests of producers, distributors and-exhibitors of fi lms and of all other persons connected with the fi lm industry. The FFI selects the Indian offi cial entry for the Academy Award for Best Foreign Language Film each year.
FILM FEDERATION OF INDIA
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111Cannes Film Market
ABHIJEET SINGH BAGHEL • Executive Director Buyer• asb@fi lmvillage.in
Film Village is a new-age Sales and Licensing Co. that represents select Indian titles for world sales and all-rights of Foreign language fi lms for Indian subcontinent. FilmVillage has its own distribution arm for select Bollywood titles in Europe. YRF’s “Mardaani” starring Rani Mukherji is our latest release in Poland. FilmVillage specializes in licensing of Intellectual property rights and also packages feature-fi lm projects in popular genres worldwide.We are looking for acquisition of new-age Bollywood / Indian Crossover titles for European territories and Licensing exclusive catalogue of blockbuster German titles for Re-make, adaptation and brand extension.
FILM VILLAGE SALES
ROHIT SHARMA • Head of International Sales & Distribution• [email protected]
KANIKA VASUDEVA • VP - International Sales & Distribution Buyer• [email protected]
Fox Star Studios India is a joint venture between 20th Century Fox and STAR, Asia’s leading media conglomerate, to produce world-class local- language fi lms for worldwide distribution.Fox Star Studios fi rst fi lm ‘My Name is Khan’ was a worldwide success and since then the studio has worked with some of the biggest talent in India to produce critically acclaimed fi lms that have been appreciated all around the world. We have an exciting line-up of 12 fi lms for this year at the Cannes Market.This market we shall be screening Bombay Velvet directed by the acclaimed director Anurag Kashyap which has Ranbir Kapoor , Anushka Sharma and Karan Johar. We shall also be screening the critically acclaimed fi lm - The Crow’s Egg.
FOX STAR STUDIOS INDIA PVT LTD.
PINAKI CHATTERJEE • Producer • [email protected]
FUTURE EAST FILM was established to develop new forms of independent fi lm in India. The company’s fi rst feature length project, JOHN & JANE by Ashim Ahluwalia, premiered at Toronto Film Festival. It was the fi rst Indian project to be acquired by HBO Films for US theatrical release. Future East’s next feature-length fi lm, MISS LOVELY by Ashim Ahluwalia and world premiered in the Un Certain Regard section of Cannes Film Festival 2012.We are currently seeking international collaborators for co-production, fi nance, strategy, sales agents and TV broadcast and territorial presales/ancillary sales for new fi lm by Ashim Ahluwalia, THE BOYFRIEND which is also offi cially invited at the Producer’s Network in Cannes 2015 after having made successful rounds at Cinemart Rotterdam and Goa Film Bazaar 2014.
FUTURE EAST FILM
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SUNITHA TATI • CEO - Producer• [email protected]
ANANTHAKUMAR RENGASAMY • Producer
MATHANGI SRINIVASAMUTI • Producer
Guru Films Private Limited (GFPL) is a premier fi lm production company based out of Hyderabad, India. Created specifi cally to exploit the rapidly growing fi lm industry of South India, GFPL plans to quickly capture and dominate the South Indian regional fi lm market space.GFPL is currently engaged in building and leveraging a library of intellectual property across cinema, television, New Media and mobile technology.We have currently fi nished shooting the fi rst of our bilingual productions, ‘Courier Boy Kalyan’ (Telugu) and ‘Tamilselvanum Thaniyar Anjalum’ (Tamil); and are in the postproduction phase. They are set for release in the fi rst quarter of 2015.Our next two fi lm projects are in pre-production and will release third quarter of 2015.
GURU FILMS PVT LTD
RAVI KOTTARAKARA • Producer, Director, Distributor • kotfi [email protected]
Ganesh Pictures and Kottarakara Films, headed by Ravi Kottarakkara, are oldest and reputed production houses. Inspired by his father’s fi lm ‘pasamalar’,Ravi joined his production company at very early age during 1978. Acted in several fi lms, his never ending frenzy and passion to the fi lm industry persuaded him to learn editing, cinematography, direction. He started to assist his father in all his fi lm production activities. Fully involved in fi lm production from 1982, 71 straight fi lms were produced in the above banners in Malayalam, Kannada, and Tamil languages. Ravi has written & directed fi lms in Kannada. Produced fi lms that entered the national & international fi lm festivals and won awards. Some of the fi lms –ee shabdam enathe shbadam, adyathe kanmani, dosth. He has also distributed 76 foreign fi lms in India. He is also Vice President – Film Federation Of India Nine Years. Producing Underproduction –Dod [Malayalam] Ondudina Koskara [Kannada] Member –Censor Board, Central Board Of Film Certifi cation, - Labour Advisory Board Central, Ministry Of Labour, Member In The Selection Of /Mainstream Section For Indian Films In The International Film Festival. Jury-For Many Film Awards
GANESH PICTURES
BEENA UNNIKRISHNAN • CEO• beena@irisgreenfi lms.com
ANIL KUMAR • Director
IRIS GREEN FILMS is an independent motion picture production company assembled from creative and business entertainment industry professionals [Mr ANIL KUMAR ,Dr M M ALEX and Mrs BEENA UNNIKRISHNAN ] with a common goal of producing national and International fi lms which fi nd market amongst the world wide audience.As we are in the pre production stage of three movies for worldwide release ,we want to prepare ourselves on the independent fi lm market ,the one that has emerged as a legitimate competitor to the traditional Hollywood studio system ; to raise the profi le of the company , to explore on funders and funding systems ,meet the expertise world cinema.
IRIS GREEN FILMS
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113Cannes Film Market
MRINAL CHAWLA • Production Assistant • [email protected]
Jungle Book Entertainment is a vision shared by Pan Nalin & Gaurav Dhingra. What sets Jungle Book apart is that we are producing movies & TV content for the international market. Jungle Book has the fl air for telling timeless tales with origins in South East Asia and more specifi cally India. Jungle Book plans to produce youth oriented Hindi movies with innovative ideas and original stories. We have researched shifting tastes of Indian audiences, and the time has come to cash on to these opportunities where a great story, smart production, realistic budgets and clever marketing strategy can yield guaranteed successful results.Jungle Book with its base in India is specifi cally positioned to captivate TV and Film audiences on an International scale.
JUNGLE BOOK ENTERTAINMENT
ROOPA BARUA • Producer• [email protected]
Kahini Media is a production company based out of Mumbai, India. We undertake all production activity , be it short fi lms, music videos or full length feature fi lms. Kahini Media has produced award winning music videos and documentariesKahini Media is presently involved in producing a couple of full lenght feature fi lms that appeal to a global audience. Since our post production is carried out at state of art facilities in Mumbai ( Bollywood) India, we are also very effi cient at controlling the cost of production.
KAHINI MEDIA
BOBBY BEDI • Producer• [email protected]
Films produced by New Delhi-based Kaleidoscope Entertainment include Bandit Queen, Fire, Electric Moon, Saathiya, Maqbool, American Daylight, and The Rising. Kaleidoscope is regarded as one of the leading production houses in the Indian fi lm and television Industry, and one of the few that have created content that has successfully crossed over to western audiences.KEPL was started by producer Bobby Bedi, who remains it’s Managing Director. KEPL has worked with some of the fi nest talent in the Indian Movie industry from Shekhar Kapur, Vishal Bhardwaj, Aamir Khan, Abbas Tyrewala to International Stars such as Nusrat Fateh Ali Khan and A. R. Rahman.
KALEIDOSCOPE ENTERTAINMENT
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KAJAL CHOUDHURY • Producer Director• [email protected]
Our list includes Long Journey to Calcutta (feature fi lm 90 minutes), Burning Calcutta (feature fi lm 90 minutes), Do or Die feature fi lm in pr-production and Matriarchale Society in India, a 52-minute documentary. We are in Cannes for new projects and co-production investment.
KK PRODUCTIONS
RAJESH JAIN • Producer• [email protected]
PREETI JAIN • Producer
Coming from the background of handicraft Mr. Jain brings the same craftsmanship in his slate of fi lms also, His fi rst fi lm was critically acclaimed and National award winning “IAM”. His another venture as TV serial “ANUDAMINI “at National channel is fi nishing its 200 episodes and counting on. We are ready with our next feature project “Blue Mountain” it is in the right space being an authentic Indian fi lm and story but reaches out to world audience too.
We have recently fi nished the feature fi lm “Blue Mountains”
KRISH MOVIES
BHUVAN LALL • Chairman - Founder• [email protected]
India born creative entrepreneur & investor Bhuvan LALL launched the privately held global entertainment company - LALL Entertainment - Animation, Broadcasting & Cinema, at the Cannes 2003. Our vision is to create global content with an Indian soul. Our mission is focused on strategic investments in world - class intellectual properties bridging Hollywood, China & India. Our philosophy is “Think Globally Script Locally”Focused on strategic investments in world class intellectual properties & in producing “Global fi lms with an Indian soul” we are now Producing Daughter by Court Order - a national best seller in India, “The Man India Missed The Most - Subhash Bose” and the multi million dollar Hollywood fi lms Mahabharata and the life of Buddha.
LALL ENTERTAINMENT
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GURJOT SINGH • Producer• [email protected]
REETH MAZUMDER • Producer
Let’s Ring The Bell Productions was formed in the year 2011. It was established by young and enterprising entrepreneurs Reeth Mazumder and Gurjot Singh (Johnny Baweja). The Flagship feature fi lm of the Company titled “SWEN”, completed in September 2012.Currently our objectives are: 1.To meet like minded people for producing projects in future. 2. Release of our feature fi lm “I Killed him” in International market. 3. To promote our company as a Line Production company in India providing each and everything at the best affordable rates, required for shooting. 4. To provide the best animation and graphics work at a good price and good quality. 5. Looking for a co-producer for our animation fi lm on Sikh Warrior.
LETS RING THE BELL PRODUCTIONS
SHILADITYA BORA • Managing Director• [email protected]
Long Live Cinema is a labour of love for all things cinematic — an integrated fi lmed entertainment company with a core focus on distribution and syndication of motion pictures across all platforms and languages. We are the India distributor of Venice winner COURT. We specialise in theatrical release, online distribution, movie marketing and movie on demand. We also syndicate content for airlines and DTHWe have only one goal: to help quality cinema reach its audience, and then to maximise it.
LONG LIVE CINEMA
SUDHISH KAMATH • Writer, Director, Producer• [email protected]
Sudhish Kamath founded MADE IN MADRAS ink, the fi lm production company that produced That Four Letter Word, Good Night Good Morning and X.He conceived, Directed and Wrote a collaborative experimental feature fi lm called X with ten Indian fi lmmakers starring Rajat Kapoor. The movie premiered as the Opening Film at the South Asian International Film Festival and in the World Cinema section of the International Film Festival of Kerala and is releasing theatrically in India and the US mid 2015.
MADE IN MADRAS INKOPERATED!
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HIRACHAND DAND • Chief Operating Offi cer• [email protected]
Madhu Entertainment & Media Ltd. is a global media distribution and marketing powerhouse for Indian media content. Over the last two decades it has grown from strength to strength and today has to its credit India’s most diverse fi lm catalogue. In the last few years, the company has further expanded to production of regional fi lms & television content.
MADHU ENTERTAINMENT & MEDIA LTD.
HARRY SACHDEVA • Managing Director• [email protected]
Magical Dreams is involved in production of mainstream cinema and tele serials, its 2015 project titled 31st October , a fi lm on Indira Gandhi’s assassination and its aftermath is the fi rst Indian fi lm of its kind. MDPPL further plans to expand production into global market and collaborating with international production houses. We are at Cannes to explore co-production opportunities for projects that cater to world audience Also, exploring opportunities for world wide release of our home production 31st October,fi rst fi lm on Indira Gandhi’s assassination and the aftermath.
MAGICAL DREAMS PRODUCTION PVT LTD
SAILESH DAVE • CEO• [email protected]
Mantra Runaway Entertainment is a production company specializing in Independent fi lms’ fi nancing, distribution and funding. Our last movie “Writers” was shown at more than ten fi lm festivals across the world including Zurich International Film Festival. We are currently planning to produce three more fi lms in the next twelve months. We have an offi ce in Los Angeles and we continue to strive for new outlets for Independent fi lms and alternative distribution networks.At Mantra/Runaway Entertainment, we encourage new fi lm makers, great storytellers and just about anybody who has passion for telling engaging stories, cinematically. We develop scripts, ideas, treatments, we also option ready scripts, and of course, we provide completion fi nancing for selected projects.
MANTRA RUNAWAY ENTERTAINMENT
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HARSHAD BHAGWAT • Director• [email protected]
Mercury Integrated is a boutique events and entertainment services company based in Mumbai, India. Mercury Integrated is the promoter of India IIFTC Locations Show - India’s largest fi lm locations show and CinePort - India’s fi rst fi lm tourism focused magazine.IIFTC Locations Show is the fi rst stop for fi lm commissions and tourism boards to meet the vast and vibrant Indian fi lm industry. IIFTC Locations show is promoted in association with the Film Federation of India (India’s apex fi lm trade body). IIFTC Locations show takes place across India’s 3 largest fi lm markets (Chennai, Hyderabad, Mumbai) in a road show format, giving you access to a large studios and big production houses, who are looking for stunning shooting locations around the world.
MERCURY INTEGRATED
RANCHOR JUMANI • Buyer• [email protected]
AMIT JUMANI • Director• [email protected]
Mumbai-based Metro Pictures has been regular to Cannes and acquires movies for distribution in India and few other markets.Metro Pictures’ recent acquisition include THE HERO OF COLOR CITY by Frank GLADSTONE (Theatrical, TV, DVD-video, VOD)ICEMAN 3D by Wing Cheong LAW (Theatrical, TV, DVD-video, VOD)YOUNG DETECTIVE DEE: RISE OF THE SEA DRAGON by Hark TSUI (Theatrical, TV, DVD-video, VOD)
METRO PICTURES
VIPUL VALVI • Producer• [email protected]
RITURAJ SETHIA • Producer
Motion Makers is an Animation and Visual effects company situated in Mumbai, India.We produce feature fi lm, television, commercial and visual effects.Motion Makers also provides a full-service solution for feature animation, visual effects, and fi lm property development from the basic concept to the fi nal fi lm print.We are currently looking for buyers / distributors to distribute our full length animated feature “Nephilim”. We also plan to meet producers and seek remaining fi nance for 3d animated Movie Code 4 (Alien Attack) and Elephant Monk, Finalise actors for voice overs.We are constantly on the lookout for collaborations, co-productions for more work in fi eld of Animation and VFX
MOTION MAKERS ANIMATION STUDIO
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UDHANI SUNIL • Head of Distribution• [email protected]
Multivision Multimedia India P Ltd is a major independent distributor of Hollywood fi lms for All Rights in the Indian Sub-Continent. Released titles include “Monster-in-law”, “Hostage”, “Crash” etc; Upcoming releases include “16 Blocks”, “Final Destination-3”, “Bandidas”, “Dreamer”, “Matador” etc. In a short span, the company has acquired 80 plus titles including “RamboIV”, “Flyboys”, “BorderTown”, “StormBreaker”, “King of California” etc.The company has established a strong network for exploitation of fi lms all over the Country. Looking for long term relationships with established Production Houses/Sales Agents.
MULTIVISION MULTIMEDIA INDIA PVT LTD
RAJSINGH ZANANE • Film Director• [email protected]
RAJESH ACHARYA • Producer• [email protected]
We are a knowledge pool of rising talents with experienced professionals, working in diversifi ed areas of fi lm production, technology innovation and implications. Nanotechnology refers to the projected ability to construct items from bottom up, using techniques and tools being developed today to make complete high performance products. Therefore, the Company, considering the facts that like nanometer it considers even the smallest thing as important, coined the name of the company as Nanoland.BEYOND BLUE is produced by Dr. Acharya who is also a corporate advisor to the Nanoland Group. Nanoland’s main objective is to make fi lms that make a difference. Be it to the society, culture or simply to bring back the declined parallel cinema of India in the form of Indo - Realism with Zanane Rajsingh’s vision. Nanoland is producing a fi lm on climate change written by Dr. Acharya and directed by Zanane Rajsingh called It’s Tomorrow. The fi lm’s objective is to break the myth of Global Warming
NANOLAND LTD
SHRIPRIYA DALMIA THIRANI • Director• [email protected]
Nanu Productions was founded in 2012 by Shripriya Dalmia Thirani. We are a successful fi lm production house, which is already two fi lms old, one being a docu-drama, and other, a soon to be released Bollywood fi lm that deals with burning issues of Honor Killing. We currently have fi ve main stream fi lms under production with respected directors and production houses of Bollywood, which are scheduled to release in the next three years. We are also exhibitors, and own six movie theatres in India.Excellence through innovative mind with knowledge, skill, and understanding of all aspects of fi lm business for cost effective, creative and quality fi lm making”
NANU PRODUCTIONS
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NINA LATH GUPTA • Managing Director• [email protected]
RAJA CHHINAL • Head Overseas Promotions & Markets• [email protected]
FATEMA NAGREE • Business Development Manager• [email protected]
MANAS MALHOTRA • Co-Director, Film Bazaar• [email protected]
Incorporated in the year 1975, NFDC was formed by the Ministry of Information and Broadcasting, with the primary objective of promoting the Good Cinema Movement.NFDC has produced noteworthy fi lms and extended fi nancial support to more than 300 fi lms in 21 regional languages.NFDC organises Film Bazaar (FB), South Asia’s global Film Market, from 20 - 24 November every year in he Goa, along with the International Film Festival of India (IFFI). Film Offi ces, a new segment, introduced in FB 2014, is a platform for Film Commissions &Tourism Bodies to showcase locations and incentives to fi lmmakers.The objective of setting up the NFDC Stall is to actively seek distribution partnership with International production &distribution houses and sales agents for new fi lms and for our catalogue of more than 300 fi lms.
NATIONAL FILM DEVELOPMENT CORPORATION NFDC
SUDHANSHU HUKKU • Chairman - Managing Director• [email protected]
Locations Annual Exhibition Conference in Mumbai, India. Line and Locations Co Ordination for Indian Films Globally. Co production Sourcing.
NOVEL EVENT WORKS
GIRISH MALIK • Producer and Director• girish@oneworldfi lms.in
One World Films Pvt. Ltd. is a rapidly growing production house; with the goal to produce fi lms which carry a universal connect. We intend to bring unheard stories from Indian subcontinent to the attention of fi lm afi cionados spread over the globe. OWF also intends to make inroads into international fi lm sales and distribution through thought provoking, artistic cinema with a widespread appeal. our fi rst fi lm JAL (Water) was selected in Oscar contention for Best Original score and Best Picture. We are looking for fi nancing and co-production partners with shared goals for our international projects.
ONE WORLD FILMS PVT. LTD.
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CELINE LOOP • Producer• [email protected]
Overdose is a fi ercely independent fi lm production house based in Kolkata. They create locally rooted but globally relevant feature fi lms, documentaries, music videos and potent virals, and are committed to producing original content that pushes boundaries. Overdose is a young company, but has already established a unique brand profi le by working at the highest international quality standards with limited fi nancial resources.They have an eclectic network of artists, technicians, distributors, commissions, broadcasters, and a loyal fan base across the globe. Objective: Networking and fi nding partners for our next projects in development, production and post production.
OVERDOSE ART PVT LTD
ABHISHEK PATHAK • Managing Director• [email protected]
ABHISHEK GORADIA • Senior Manager Acquisition and Syndication Buyer
Panorama Studios, together with its subsidiaries and associates, is a diversifi ed Indian fi lm Studio with various business segments such as Production, Distribution, Talent Management, Advertisement, Syndication, Equipment rental and Line production. Panorama studios attracts the best talent in media and entertainment to create, package and deliver high quality cinema worldwide.To Produce, Distribute, Market and Exhibit visual entertainment worldwide thus ornamenting the market and business. Panorama Studios aims at achieving status of undisputed leader in Indian Film & Entertainment Industry.
PANORAMA STUDIOS
NATARAJAN VIDYASAGAR • Editor and Publisher• [email protected]
Pickle bridges the information gap and does a reality check on where we stand in the Indian M&E space. Our main objective is to enable creative and business professionals from India to work with overseas companies and professionals and vice-versa. Pickle’s goal is to help you buy, sell and distribute content from overseas territories, fi nd co-production partners, offshore with best of the Indian service companies and track media and entertainment business in India.We bring out India focused issues and reach out to delegates at CII Big Picture Summit (August) Toronto International Film Festival/Market (September), MIPCOM (October), American Film Market (November), ATF Singapore (December), European Film Market and Berlinale (Jan-Feb), FICCI FRAMES (March), MIPTV (April), Nab Show (April) Cannes Film Festival and Marche (May) and Annecy (June).
PICKLE
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AVINAASH JUMANI • Film Acquisitions Buyer• [email protected]
PictureWorks is acquiring Hollywood and Foreign language feature fi lms and documentaries for India and the Indian sub-continent territories.
PICTUREWORKS
SHONA URVASHI • Creative Producer• [email protected]
RAMAN LAMBA • Producer
For over 50 years, the PLA group is a path setter in the Indian Film Industry.The PLA group is associated with every fi eld of the Entertainment Industry in India and abroad.PLA entertainment is interested in creating strategic partnerships to develop innovative international and Indian software. We have a slate of fi lm projects for an international market and are looking for co producers for these projects.
PLA ENTERTAINMENT
AMIT KUMAR AGARWAL • COO• popcornfl @hotmail.com
Popcorn Flicks & its subsidiary, Indie n Dogma fl icks are Film Production and Film Facilitation organizations based out of India. Main Objective in ‘15 is to move our mainstream feature-fi lm, Virgin.. Mira (already shot as a scratch fi lm) from development & pre-production to production stage. We have also been appointed by a newly launched Film Festival in India to be held in November-December ‘15, to look out for artistically driven fi lms, across genre, that fi t in the Festival schedule.Popcorn is at Cannes Film Festival 2015 to 1. Move our mainstream feature-fi lm, Virgin.. Mira (already shot as a scratch fi lm) from development & pre-production to production stage. 2. Program & schedule fi lms for a newly launched Film Festival in India, to be held in Nov-Dec ‘15 3. Explore possibilities for production / co-production 4. Acquisitions of unconventional and non-conformist fi lms for the Indian Market 5. Possible collaborations with talent 6. Network for future business
POPCORN FLICKS
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SANJEEV KUMAR • Joint Managing Director Buyer• [email protected]
KAMAL GIANCHANDANI • President Buyer
DEEPAK SHARMA• COO Buyer
NIHARIKA BIJLI• Manager
Founded in the year 2002, PVR Pictures Limited is the largest independent studio for the distribution of Hollywood fi lms in India. 100% owned subsidiary of PVR Limited, PVR Pictures is the motion picture arm of the largest cinema exhibition company in the country. With a vision to showcase content- led movies, some of its forthcoming releases include ‘The Hateful Eight’,’Inversion’, ‘London Has Fallen’, ‘Skiptrace’, ‘Dirty Grandpa’, ‘The Legend’ among many others.Our objective is to acquire all rights for Hollywood fi lms and other language fi lms for India, Nepal, Bhutan, Bangladesh, Srilanka, Maldives, Pakistan.
PVR PICTURES
G.M RAM • Owner• rd_fi [email protected]
One of the Leading Distributor in India Film Industry, Importing Other Countries language Movies for India including Sub-Continental Territory. Our main Business are Importing Action/Adventure/Horror/Animation/Game Shows Reality Etc...Always interested to Import lot of Good other Countries Movies for India including Sub-Continental Territories...
R.D. FILMS
VA SHRIKUAMR • Managing Director• [email protected]
Push is a tribe of professionals from some of the biggest advertising agencies, who have come together to push the boundaries and to work in an environment that is collaborative rather than hierarchal. The nimbleness of the resource allows to explore effectively and leverage optimally. Each member of the team is empowered and responsible for results. Push makes an effort to question the conventional, if it means that it can produce exceptional results. Push houses art directors, designers, design educators, writers, strategists, planners and just overall fun people, who have been there and done that and seen it all. Meet us and you will see an astounding combination of people you always wanted to meet and people you’ve never known you needed to meet.
PUSH INTEGRATED COMMUNICATIONS PVT LTD
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RUPESH PAUL • Producer - Director• [email protected]
SRITAMA DUTTA • Creative Director
From the maker of Kamasutra 3D and Saint Dracula 3D, comes RPPL, the new aeon production company with which Rupesh Paul gets into the hat of a producer apart from the director’s jacket. It is a fully integrated, broad-based entertainment company in creation, production and distribution of entertainment.RPPL deals with the best of 3D and Stereoscopy with an Animation division.It is the only distribution company of India with the highest and best International market links, around the world.For the Pre sale of Domestic & International Rights (Theatrical, TV, Video-DVD, VOD, Airline) of the following movies :a) The Vanishing Act – An Untold story of the MH 370 crash (Under Production)b) Monologues of an Indian SEX MANIAC (Under Post Production)c) 36 MM 3D – The Reincarnation of Marilyn Monroe (Under Production)d) Savita Barbie 3D (Under Production)
RUPESH PAUL PRODUCTIONS LTD (RPPL)
NEERAJA PATWARDHAN • Producer• sahajfi [email protected]
Sahaj Film Private Limited is founded in 2009 by Dir. Sandeep Sawant (Shwaas) and Neeraja Patwardhan. Our company is producing Sawant’s next directorial venture, a Marathi feature fi lm titled ‘Nadi Vahate’ Post production of the fi lm is underway. The fi lm will be complete by end of May 2015‘Nadi Vahate’ (A River Flows) is a Marathi Feature Film by Dir. Sandeep Sawant (Shwaas). The fi lm focuses on river with respect to environmental and social aspects. The fi lm will be complete by end of May 2015. We are looking for sales agent/ Acquisition/ Buyer Distribution for the same.
SAHAJ FILM PRIVATE LIMITED
SANJAY SHAH • Producer• [email protected]
SALAAM CINEMA is a Mumbai based fi lm production company established to develop and produce auteur driven fi lms for global audiences. The company was founded in 2013 by producer Sanjay Shah, who previously produced Ashim Ahluwalia’s Miss Lovely (Cannes Un Certain Regard) and worked as a Supervising Producer for National Film Development Corporation of India (NFDC).Looking for coproducers and sales agent for the company’s new feature LIBERATION (currently in development).
SALAAM CINEMA
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B SHASHI KUMAR • [email protected]
C KALYAN • Former President South Indian Film Chamber of Commerce • President, Telugu Film Producers Council
South Indian Film Chamber of Commerce (SIFCC) is a South Indian fi lm producers, distributors and exhibitors association, headquartered in Chennai, Tamil Nadu, India. It consists of the Andhra Film Chamber of Commerce, Karnataka Film Chamber of Commerce, Kerala Film Chamber of Commerce and the Tamil Nadu Film Chamber of Commerce. The SIFCC was inaugurated in 1938.The current president of the organisation is B Shashi Kumar.
SOUTH INDIAN FILM CHAMBER OF COMMERCE
GUNET MONGA • CEO and Founder • [email protected]
Sikhya Entertainment is India’s prominent production, spearheaded by producer Guneet Monga. The company has carved a niche for itself in both national and international markets. At the core of their philosophy lies the belief in delivering meaningful cinema mirroring our society and thus, pay great importance to stories that need to be told, despite their geographic barriers and language. The organization seeks to see great content through. From its Inception, Development, Production to the fi nal release. The company includes a team of writers, producers, directors, line Producers, marketing and public relations professionals. As a passionate team, together, they seek to create new age content that transcends boundaries, mediums and formats while at the same time assisting supporters of good content in any area where it may be needed.
SIKHYA ENTERTAINMENT
JITEN HEMDEV • Managing Director Buyer• [email protected]
Star Entertainment is India’s most reputed and best Independent English Film Distribution Company since 1985, which has successfully distributed Hollywood Blockbusters and Entertainment/Animation programs in the Indian subcontinent for the past 20 years. We provide India’s cinemas, multiplexes, TV stations and DVD/Video outlets with some of the Worlds best Independent Films, Animation, Comedies, Sport Specials, Documentaries, Sit-coms, Educational programs carefully sourced from U.S.A., U.K.etc.To also acquire Big Budget, Star Cast/Special Effects laden fi lms for theatrical release simultaneous with USA release! To acquire Classics and Popular Hit fi lms from the past for TV /Video/Broadband/Mobile To acquire Animation, Educational, Music, Children and Special interest programs, TV comedies, TV serials
STAR ENTERTAINMENT P LTD
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TRIPAT PAUL AGGARWAL • Chairman - Managing Director• [email protected]
Star Entertainment Worldwide Pvt. Ltd. was started in the year 1995. Though the M.D. Mr. T.P. Aggarwal had already been producing fi lms (for eg. Return of Jewel Thief 1996), with this company he proposed to take one step ahead to keep up with the increasing demands and new avenues opening up for this industry. Very soon in the near future, with his great vision he even plans to take this company public. Currently fi nancing and producing, Star entertainments pvt. ltd. is always on the look out for young talents, creative personnel, not only for the cinema but also for the small screen.
STAR ENTERTAINMENT WORLDWIDE PVT LTD
SANJAY JUMANI • Buyer - Seller Buyer• [email protected]
India’s leading motion picture distribution, production company & joint ventures in Bollywood having business over 41 years acquiring rights for India of Hollywood Movies & Supplying Bollywood to rest of the world over three decades. We have rights in all formats of our fi lms with subtitles and dubbing in several world languages in all formats Theatrical, DVD, Cable TV, In fl ight Entertainment, Terrestrial TV, V.O.D, You Tube & Internet rights, mobile, Digital Media & world Satellite Rights.To buy Hollywood Films for India, Joint Ventures in Production in India and to market Bollywood titles to different Countries in the world. we have over 100 Indian titles to offer you under one roof with superstars like Amir Khan, Salman Khan, Shahrukh Khan, Aishwarya Roy & many others.
SUNSTONE ENTERTAINMENT
KAMAL JAIN • CEO - Managing Director Buyer• superfi nefi [email protected]
Under the dynamic aegis of Kamal Jain - Superfi ne fi lms, Superfi ne Films Pvt Ltd along with its sister concern Superfi ne Films International LLP together have been at the helm of acquiring top-of-the-notch commercial entertainment contents for India & Sub Continent for last over three decades. Superfi ne group of companies are well recognized with immense repute by almost all major International Films/TV sales/Representative Companies, thereby giving Superfi ne a name of trust, repute & reliabilityPresent Primary objective and focus is to acquire All Rights for Commercial Driven, Action, Adventure, Special Effects, Fantasy Big Budget Genre fi lms and programs with ‘A’ credits or franchise fi lms for India and Sub-Continent which can be exploited in All the Platforms in India & Sub Continent.
SUPERFINE FILMS
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SWAROOP KANCHI • Director / Producer• tapasfi [email protected]
Tapas Films was founded in 2007 by Swaroop Kanchi and their fi rst production was Hong Kong based independent english fi lm “Hong Kong Dreaming”. With their head offi ce in bangalore they line produced a british fi lm “Supraman and the school of necessity” in 2008, in 2010 “Bengaloored” an Indian indie english fi lm was produced and released nationwide theatrically to both critical acclaim and box offi ce collections, in 2014 they released their fi rst hindi fi lm “Yeh dil Ramta jogi” theatrically. TapaMy current Priority is to fi nd Co-Producers for my New fi lm “The Yogi” set to be shot in India late 2015. Also looking for Pre Sales for the Same. I am Looking for International Buyers for my previous Releases Bengaloored & Yeh Dil Ramta Jogi
TAPAS FILMS
JITENDRA ADAPPA • Producer • trikutafi [email protected]
Trikuta Films is in the business of Films & TV Production. TFPL has been catering to Multinationals & Corporate Houses, adhering to their high standards of technical & creative output in meeting the client’s requirements. TFPL’s strength is the combined experience of its Directors & its professionalism in executing projects it undertakes. TFPL is taking strides in feature fi lm productions, confi dent of taking on projects of any size with the guarantee to execute the same within a time frame.TFPL is venturing into World Cinema, aiming to produce culturally diverse and innovative fare that captivates the audiences’ imagination worldwide. TFPL’s focus is on doing International Feature Films by way of Co-Productions and is open to exploring new business opportunities in the fi eld. "Kadhie Aambat Kadhie Goad", an Indian family drama, made in its local language is TFPL'S fi rst feature fi lm offering. Its in the fi nal stages of post production & is being readied for a July 2015 release.
TRIKUTA FILMS PVT. LTD.
MODA VINEET • Global Business Development• [email protected]
AGRAWAL SUSHILKUMAR • Chairman - Producer
ALI SAYED MANZOOR • Head of Production
VEERA BHADRIK MEGHRAJ • Vice President - Marketing
ULTRA MEDIA & ENTERTAINMENT (est. 1982) is a fully integrated, broad based studio engaged in multiple aspects of entertainment, including full-scale fi lm and television production and distribution and digital media. Over the years, Ultra has diversifi ed into a wide spectrum of services such as fi lm production, post production services such as Scanning, Restoration, Colorization, 2D to 3D Stereoscopic Conversion and Merchandising.1) Present our new titles and market our library of 1500 titles. 2) Market our studio facilities such as 2D to Stereoscopic 3D Conversion for Theatrical, Television & Home Video Releases, 3D Lenticular images & posters, Restoration & Archival in SD, HD & 2K formats, 2K & 4K Scanning on ARRI scanner, DI Facility (Color Grading Unit), Audio Engineering, Colorization of B/W Content. 3) Present our newest technology of SD to HD and HD to 4K conversion.
ULTRA MEDIA & ENTERTAINMENT PRIVATE LIMITED
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Indian Delegates at Cannes
127Cannes Film Market
GAYATRI GULATI • Head Revenues & International Business• [email protected]
Viacom18 Motion Pictures is India’s fi nest fully integrated motion pictures studio that has emerged as a force to reckon with by delivering a stream of critically and commercially successful fi lms. Offering differentiated and meaningful cinema, some of its iconic releases have been Queen (2014), Bhaag Milkha Bhaag (2013), Madras Café (2013), Special 26 (2013) and Kahaani (2012) to name a few. The strategic alliance with Paramount Pictures to market and distribute PPI line-up in the Indian sub-continent has seen blockbusters like Transformers Dark of the Moon, Mission Impossible: Ghost Protocol, Madagascar 3, Hugo, Paranormal Activity, G.I. Joe: Retaliation and Jack Ryan: Shadow Recruit to name a few.
VIACOM18 MOTION PICTURES
MANISH DUTT • Managing Director Buyer• manish.dutt@vrfi lms.in
Importer of foreign language fi lms for India territory, exporter of Hindi fi lms, import Films for TV / Home Video / Digital Media, theatrical distribution in India, dubbing studios which acquire and provide dubbing related services to various clients worldwide for Indian languages like Hindi, Tamil, Telegu and English.To acquire Foreign language fi lms mainly English language fi lms for ALL RIGHTS for INDIA and sub continent.
VR FILMS & STUDIOS PVT LTD
AVTAR PANESAR • Vice President - Intl. Operations• avtar@yashrajfi lms.com
Yash Raj Films (YRF) founded by the Late Yash Chopra a veteran of the Indian Film Industry. The only privately held Studio in India, YRF is a 45-year-old conglomerate and a vertically integrated Studio in every sense, controlling almost every part of the value chain from Production to Post Production, Distribution to Music Studios, Licensing & Merchandising etc. based out of Mumbai. YRF has recently built a state of the art studio that houses shooting stages, sound studios and its corporate HQ.To showcase the current slate of YRF fi lms for 2015. Selling, My Big Fat Bride, Calcutta Detective, Piku and Fearless as well as the tentpole “FAN” starring Shah Rukh Khan. We are also looking to syndicate the YRF catalogue of fi lms along with “Dhoom: 3” the biggest action franchise from India .
YASH RAJ FILMS
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Indian Delegates at Cannes
India Film Guide 2015 128
PIERRE ASSOULINE • Producerinfo@westeastfi lms.com
Production, Production Consultancy and Services in India Our expertise: To translate fi lm production practices in India into your expectations as a Western producer or fi lmmaker.Western producers are, in increasing numbers, approaching us to resolve their problems in recreating their usual work environments when shooting or doing post-production in India. They come to us for the creative and production values they have come to expect as the norm in their own countries. Westeast Films helps erasing the misunderstandings created by cultural differences in work customs.We're in Cannes for co-production and prod services opportunities.
WESTEAST FILM
SRINIVASA SANTHANAM • Festival Director, CISFF • [email protected]
S KANNAN • Chairman, CISF
The Chennai International Short Film Festival is organised by ‘Chennai Academy of Motion Picture’, a non-profi t trust founded by persons with a long track record in promoting good cinema through fi lm festivals and other media. The second edition will be held from 15-21 Feb 2016 with competition for short fi ction, animation and documentaries for a maximum duration of 20 minutes. CISFF’s objective at Cannes is to scout for short fi lms for the festival. Last date for receipt of entries: December 15, 2015.
CHENNAI INTERNATIONAL SHORT FILM FESTIVAL
PAVAN KAUL • Director/Producer• [email protected]
Creation of quality, path breaking and inspirational content for fi lm and television.We are at Cannes Film Market to promote and market our feature fi lm THE ANSWER.
YOGANANDA FILMS
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Film Sector Initiatives
129Cannes Film Market
MORE INDIAN COMPANIES AT CANNES
AARUSHI INVESTMENTSVimal AGARWAL
Director
AEON PICTURES INDIASurendra SINGH
Director / Business
B4UIshan SAXENA
Vp Acquisitions
ishan@swordfi shinvestments.com
Chennai International Film Festival
S. Thangaraj
Festival Director
CONSULAT GÉNÉRAL DE FRANCE (INDE)
Reghu DEVARAJ
Attaché Audiovisuel
EMPIRE NETWORKSKavi JUMANI
Managing Partner
GBN SPACESGopakumar Balakrishnan NAIR
Production
KALINGA TVDwiti VIKRAMADITYA
Director
WHITE STRIPES (ENTERTAINMENT DIVISION
OF DIL LTD.)
Yash SHAH
Group Director
YT GROUPYash SHAH
Group Director
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Film Sector Initiatives
India Film Guide 2015 130
Mumbai Academy of the
Moving Image (MAMI)
Anupama Chopra
Festival Director
info@mumbaifi lmfest.com
RECTANGLE MEDIA PVT. LTD.Remy KOHLI
Producer Director
SMILE FILMSJitendra Kumar MISHRA
Producer-Festival Director
smilefi [email protected]
SPLIT IMAGE PICTURES PVT
LTD
Vikram LAMBA
Director
STILL WATERS MEDIA PVT
LTD
Sapna BHATIA
Director
SUCHETA PHULE
PRODUCTION
Phule SUCHETA
Writer / Director
SWAPNA CINEMAChalasani SESHU
Producer
VENDHAR MOVIESPravin GANDHI, Director
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131Cannes Film Market
FILMS
Indian Films for Sales and Syndication at Cannes Film Market 2015
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132 India Film Guide 2015
Indian Films for Sales & Syndication
INDIAN PANORAMA FILMS 2014
OTHELLO
Seventy-two-year-old ex-revolutionary Bankim Bhatta is suffering from Alzheimer’s. Mun drives an autorickshaw named Othello. Bankim tells Mun that he wants to go to jail. He is sent back to the police station where Tina, his tenant and a call girl, meets Mun. Tina starts using Mun’s auto to visit clients. A bond develops between them. A bomb blast at the auto-stand provides the shocking climax of the fi lm.
Director: Hemanta Kumar Das | Producer: Manabendra Adhikary Cast: Arun, Arup Baishya, Bibhuti Bhushan Hazarika, Jupitora Bhuyan
2014 | Assamese | Digital | Colour | 126 min
CHOTODER CHOBI
We are born. We talk. We play. We grow up. We love. We work. We marry. We have babies. We have families. We retire. We die. Even ‘they’ do the same. Still, what we do is normal. What they do? Funny. They are the little people of our society. We call them dwarfs, or even, midgets! This is a simple love story of such a couple, Khoka and Soma. How can a dwarf couple dream of making another family again knowing all the troubles they face?
Director: Kaushik Ganguly | Producer: Shree Venkatesh Films Cast: Dulal Sarkar, Debalina Roy
2014 | Bengali | Digital | Colour | 108 min
PUNASHCHA
Mohona has retired as a professor in Santiniketan. Her only daughter, Parna, studies in Santiniketan’s Vishwa Bharati and lives in a hostel. Mohona’s long-lost ‘friend’ of college days, now a renowned writer, novelist Animesh Mukherjee, has just won an award. A secret meeting between them goes wrong when Animesh dies of a heart attack. The news spreads like wild fi re and Mohona is left to undergo a trial by the society.
Director : Souvik Mitra | Producer: Kalyan Basu (Dreamz Digital Dotcom) | Cast: Soumitra Chatterjee, Roopa Ganguly, Anjana Basu, Sayani Ghosh, Rajat Ganguly, Debarati Chatterjee, Sourav Chatterjee
2013 | Bengali | Digital | Colour | 132 min
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Indian Films for Sales & Syndication
BODHON
The fi lm tracks the journey of Archi, in his early forties, a highly successful professional working in a MNC, and his wife Ishaani, a lady of mid-thirties, spanning across ten years from their marriage to the present day, shown in fl ashback mode. The story starts on the morning of Mahalaya. A crisis comes unexpectedly when their seven-year-old son Ujaan has a heart attack and the family fi ghts it with all their might over six days. But there is a deeper crisis in Ishaani’s life in the face of an unexpected autism of her adopted daughter Srotoswini.
Director: Ayananshu Banerjee | Producer: Magick Illusion
JODI LOVE DILE NA PRAANE
Jodi Love Dile Na Praane is a fi lm based on a novel. Does love still exist? Each generation feels the succeeding generation doesn’t understand love and the feeling is mutual. Thus the search for the elusive four-letter sensation goes on. This fi lm is a take on different faces of love with all its trappings.
Director: Abhijit Guha and Sudeshna Roy | Producer: Shyam Sundar Dey(Green Touch Entertainment Pvt Ltd) | Cast: Abir Chatterjee, Ananya Chatterjee, Kaushik Ganguly, Kaushik Sen, Arjun Chakraborty
2014 | Bengali | Digital | Colour | 115 min
TEENKAHON
Teenkahon is a triptych. It tries to capture the changing face of morality, the degeneration of values, the increasing pollution of the spoken language and the changing social fabric of Bengal through three stories. Spread over a hundred years, the three stories are structured in the manner of the classical Three Act Play with each act (read story) exploring one facet of an obsessive relationship outside the purview of marriage.
Director: Bauddhayan Mukherji | Producer: Monalisa Mukherji (Equinox Films) | Cast: Dhritiman Chaterji, Rituparna Sengupta,
GOUR HARI DASTAAN - THE FREEDOM FILE
Gour Hari Das loves to talk about his adventures as a freedom fi ghter. When he realizes that people laugh behind his back and call him a liar, it hurts but he never craves to prove himself right. Until one day his son seeks admission in an institute and Das is told that a freedom fi ghter’s certifi cate would facilitate an entry. Das has his fi rst brush with bureaucracy when he is told that he cannot obtain a certifi cate from Maharashtra, as he had fought from the state of Orissa. The utter callousness of the offi cials is an eye opener and a new Das is born.
Director: Ananth Narayan Mahadevan | Producer: Siddhivinayak Cinevision
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134 India Film Guide 2015
Indian Films for Sales & Syndication
ANKHON DEKHI
The narrative follows fi fty-fi ve-year-old Bauji, the easy-going head of a joint family which houses his strident wife, college-going son, teenage daughter and his younger brother with his wife and two children. When the daughter is found to have an undesirable suitor, the enraged family and onlookers vent their rage on the hapless couple. Something changes in Bauji. He realizes that he has been blind all his life, following other people’s truth. He takes a vow that from now on he would not believe anything that he has not experienced. He would only believe what he sees with his own eyes, since nothing else can be certain.
Director: Rajat Kapoor | Producer: Mithya Talkies
1 DECEMBER
The chief minister’s offi cial visit is a great event, particularly to the poor family specially selected to host his dinner and overnight stay in its humble abode. The extra attention bestowed on the family, in preparation for this visit, gives it a feeling of elevated status and brighter future. The visit is a great success with photo-shoots, interaction with press and local leaders, dinner and wide media coverage. But the family itself is neglected, faces embarrassments and gets a raw deal, driving it to despair.
Director: P. Sheshadri | Producer: Basantkumar Patil (Basant Productions) | Cast: Nivedita, Santosh Uppina, Shanthabai Joshi,
RI
Stuck between his ideology and his conscience, Manbha, the protagonist, goes through a maze of emotions and questions, which forces him to take a life-changing decision. Like many youths of the state, Manbha joins a terror outfi t. He sees the hatred, anger, squalor and is left disillusioned. Manbha is injured and manages to hide in a house. The lady of the house Emika is a single mother and is a victim of terror herself. What starts is a soul searching evening for Manbha.
Director: Pradip Kurbah | Producer: Kurbah Films | Cast: Merlvin Mukhim, Elgiva Shullai, Albert Mawrie, Anvil Laloo
2013 | Khasi | Digital | Colour | 117 min
1983
This is the story of three generations of a family between two world cup wins of India, 1983 and 2011. Gopi Ashan had high hopes for his son, Rameshan. Though full of potential as a child, all he could do was to end up as an amateur tennis ball cricket player. After his marriage he gets a new purpose in his life: to make his son the professional cricket player that he could not become. Told in the backdrop of village cricket in light humour, the movie deals with the journey of Rameshan and the problems he has to face and conquer to reach his goal.
Director: Abrid Shine | Producer: T R Shamsudheen | Cast: Nivin Pauly, Anoop Menon, Jacob Gregory, Joy Mathew, Saiju Kurup
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Indian Films for Sales & Syndication
NORTH 24 KAADHAM
Hari, a young IT professional, has an Obsessive Compulsive Disorder (OCD). On an accidental road trip with an old man and a young female NGO worker he chances to meet, he comes to terms with his obsessions and realizes that there is more to life than his paranoid notions.
Director: Anil Radhakrishnan Menon | Producer: Mukesh R. Mehta (Surya Cine Arts) | Cast: Fahadh Faasil, Nedumudi Venu, Swati Reddy
2013 | Digital | Colour | 126 min
NJAN STEVE LOPEZ
Steve Lopez, a typical teenager, is the son of an infl uential police offi cer. He happens to witness a fi ght between two rival gangs and is involved in taking a fatally injured man to the hospital. This leads him into the lives of the gangsters. Hari, the gang leader, is captured by his father with his help, but he disappears from police custody. In his quest to fi nd what happened to Hari, he gradually comes to realize that the gangsters and the police are two faces of the same coin.
Director: Rajeev Ravi | Producer: Alan McAlex Cast: Farhaan Faasil, Ahaana Krishna, Alancier, Anil Nedumangad
2014 | Malayalam | Digital | Colour | 116 min
DRISHYAM
George Kutty is a cable TV network owner in a remote and hilly village in Kerala. He lives a happy life with his wife, Rani, and two girls. Anju, his daughter, goes to a school trip. A guy who had been at the school trip with her meets Anju and blackmails her with a video of her that he had captured during the trip. In the course of events he is accidentally killed by Rani and Anju. This begins a cat and mouse game as the murdered person is the son of IG Geeta Prabhakar.
Director: Jeethu Joseph | Producer: M.J. Antony (Aashirvad Cinemas) | Cast: Mohan Lal, Siddique, Shajon, Irshad, Kunjan
2014 | Malayalam | Colour | 164 min
MUNNARIYIPPU
Can you force someone to ‘reveal’ him/herself? The fi lm probes into the confl icts that arise out of the desire for and the limits of communication between human beings. Raghavan has been convicted of double homicide and is undergoing life imprisonment. Anjali is an ambitious journalist who wants to prove her worth, probing into and narrating other people’s lives. Their meeting forces him to come out – fi rst from the jail in which he has cocooned himself for two decades, and later, from his silence.
Director: Venu | Producer: Ranjith, P.M. Sasidharan (Gold Coin Motion Picture Company) | Cast: Mammooty, Nedumudi Venu,
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SWAPAANAM
Unequalled in playing the chenda, Unni, and Nalini, peerless in Mohiniyattam, are drawn to each other. Their passion cannot hold up against the tumults of Unni’s life. A brother and a father fi gure, whose love sours to jealousy and hate, a wife who despises his drumming and a mother from whom the truth about his birth is not forthcoming all hasten the tempo to an inevitable dark end.
Director: Shaji N. Karun | Producer: Horizon Entertainment | Cast: Jayaram, Kadambari, Vineethi, Siddique, Ashwini Ranga, Lakshmi Gopalaswamy
2013 | Malayalam | Digital | Colour | 152 min
NJAAN
The story revolves around the discovery of a forgotten nationalist, K.T.N. Kottoor, by young writer Ravi Chandrasekharan. Ravi’s journey takes him to a pre-independent India, and also to the suburb of Kottoor in the erstwhile Malabar of the Madras Presidency. While tracing the life of the central character, Ravi also travels through the changing socio-political scenario of a country in its quest for independence.
Director: Ranjith | Producer: Ranjith, P.M. Sasidharan (Gold Coin Motion Picture Company) | Cast: Dulquer Salmaan, Renji Panicker, Joy Mathew, Suresh Krishna, Saiju Kurup, Harish Perady
EK HAZARACHI NOTE
This is the story of Parobudhi, a poor old woman living in a remote village of the Vidarbha region of Maharashtra. A local politician comes canvassing for votes. He is distributing money to the villagers. Someone points out Budhi to him as that unfortunate woman whose young farmer son has committed suicide. The politician presses a few thousand-rupee notes in Budhi’s hands. But fate has something else in store for them. The local policeman hauls them up. Will the duo survive what follows? Will they be able to safely return to their homes?
Director: Shrihari Sathe | Producer: Shrihari Sathe (Infi nitum Productions Private Limited) | Cast: Usha Naik, Sandeep Pathak,
ELIZABETH EKADASHI
With an international sensibility but impregnated with Marathi folklores and ‘saint culture’, Elizabeth Ekadashi is a unique offering. At the core of the fi lm are basic human emotions of mother and child and a child’s struggle to help his struggling single mother fi nancially. Though the theme is universal, the presentation is such that it is very close to the Marathi soil. Set against the backdrop of Pandharpur, the fi lm explores children’s scientifi c curiosity vis-à-vis the spiritual teachings of the land.
Director: Paresh Mokashi | Producer: Essel Vision ProductionsCast: Shriranga Mahajan, Saili Bhandarkavthekar, Pushkar Lonarkar, Nandita Dhuri, Vanmala Kinikar
2014 | Marathi | Digital | Colour | 90 min
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Indian Films for Sales & Syndication
KILLA
Coping with the recent death of his father, eleven-year-old Chinu moves to a small Konkan town from a big city. He fi nds it diffi cult to adjust to the new place and fi nds himself alienated and reluctant to open up to its people. Both Chinu and his mother grapple with their own individual struggles and anxieties in the new town. In the process, they emerge with newer experiences and as newer people, both healed and enriched.
Director: Avinash Arun | Producer: Alan McAlex Cast: Amruta Subhash, Archit Devadhar, Parth Bhalerao, Gaurish Gawade, Swanand Raikar, Atharva Upasni
DR. PRAKASH BABA AMTE – THE REAL HERO
This is a story showcasing an individual who was unaware of his destination but became an inspiration to the world. After he had fi nished his doctor’s degree, Prakash’s father Baba Amte took him on a picnic to Hemalkasa. The picnic became a turning point in Prakash’s life. On the one hand people had reached the moon while here people were living as animals. Prakash went there just to treat them but became a part of them. Prakash marries Mandakini, who accompanies Prakash without any condition. This is where the real story begins in the dense forest of Hemalkasa. Today, after forty-fi ve years of struggle, Hemalkasa has become an example to the world.
Director: Samruoddhi Porey | Producer: Samruoddhi Porey
YELLOW
Gauri is born with Down’s Syndrome. Her dad fails to accept the fact that his daughter is not like others and disowns her. Gauri's mom, Mughdha, determined to raise her daughter and make sure she gets dignity, relocates to her brother Shridhar's place. Shridhar, a god-fearing simpleton, is the source of positive energy in Mughdha and Gauri’s life.
Director: Mahesh Limyae | Producer: Uttung Hitendra ThakurCast: Mrinal Kulkarni, Upendra Limaye, Hrishikesh Joshi, Gauri Gadgil, Manoj Joshi, Snjana Rai
2013 | Marathi | Digital | Colour | 130 min
LOKMANYA – EK YUGPURUSH
The fi lm encompasses the journey of a young boy from his early days to becoming the legend, Lokmanya, thus inspiring generations to come. It discovers the ideals and vision of the great freedom fi ghter, comments on the socio-political situation of today’s India and how it can be improved using his messages that were delivered over a century ago, unravelling the legend.
Director: Om Raut | Producer: Neena Raut Entertainment Pvt. LtdCast: Subodh Bhave, Sameer Vidhvans, Angad Mhaskar, Chinmay Mandlekar
2014 | Marathi | Colour | 139 min
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138 India Film Guide 2015
Indian Films for Sales & Syndication
Indian Panorama section at IFFI Goa showcasesthe best of fi lms from across India
A RAINY DAY
Aniket is an achiever who wants to get rich quick and resorts to any means for that. His wife Mugdha doesn’t approve of his deeds. When life seems to be fi ne he discovers that she’s got wind of his past. He wonders how she knows and gradually this phenomenon starts repeating itself. She tells him what he did on various occasions. She is pregnant and he wonders if this condition has to do with her extra sensitivity. He is intrigued, irritated and on the way to becoming a neurotic wreck. Mugdha fi nally takes a strong decision about her life.
Director: Rajendra Talak | Producer: Priyanka Bidaye Talak Cast: Mrinal Kulkarni, Subodh Bhave, Ajinkya Deo, Harsh Chhaya, Sulabha Arya
2013 | Marathi | 35 mm | Colour | 89 min
ADIM VICHAR
Aadim Vichar is a tale of ancient tradition and human values that stand above all. This is a story of the Kandha tribe settled in the plains of Odisha, India. Their life is a melody full of songs and dance, they lead a community life and believe in peaceful existence. But when their settlement moves into the plains, they come in contact with other people. Among them exist half-educated, selfi sh touts, who for their own motives shatter the peaceful tribe.
Director: Sabyasachi Mohapatra | Producer: Susant MohapatraCast: Atal Bihari Panda, Tapaswini Guru, Purushottam, Lochani Bag,
KUTTRAM KADITHAL
This story, playing over twenty-four hours in the life of a couple, deals with a young teacher who marries against the wish of her family and tries to start a new life with her beloved engineer husband. The inter-religion wedding escalates into a huge issue as she is chased by the police, the media, and a bunch of social activists and she runs away from the city and becomes the most wanted all over the state.
Director: Bramma G | Producer: J. Satish Kumar (JSK Film Corporation) | Cast: Master Ajay, Radikha Prasiddha, Sai Rajkumar, Pavel Navageethan
2014 | Tamil | Digital | Colour | 120 min
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EKTHABHUJANG
'EkthaBhujang' is a story of a 10 year old boy wanting to play the role of Lord Krishna... the hindu GOD in a school drama... the only thing stopping him to do so... is the fact that he is a muslim boy.
Genre: Live Action Children Feature Film | Director: Mohinder Pratap Singh | Email: [email protected]
PAPPU KI PUGDANDI
When young Pappu meets a genie,he thinks all his problems will be taken care of but the genie had had other plans for him which make Pappu realize that there are no shortcuts to happiness and he identifi es his own strength.
Genre: Children’s Feature | Director: Seemaa Desai | Email: [email protected]
CFSI Films
GATTU
In a small town in central India, kids and adults are equally obsessed with kite-fl ying. The airspace is dominated by a black kite called Kali with mysterious origins. A street kid Gattu, dreams of defeating Kali but fails. He discovers that the local school has a roof which will give him a vantage point. Impersonating as a student he sneaks into the school and must now pretend to study. The only problem -- he is illiterate!
Genre: Live Action Fiction | Director: Rajan Khosa Email: [email protected]
GOOPI GAWAIYA BAGHA BAJAIYA
They sing and play together to celebrate their newfound friendship only to be surrounded by melancholic ghosts who they manage to enchant with their peculiar musical talent. As a gift, they acquire four boons from the king of ghosts, using these they can always be well fed, transport themselves anywhere in an instant and mesmerize anyone with their music, albeit only together and in ‘jugalbandi’. One boon is still owed to them, this would be granted by the ghost king when they need to use it. And thus begins the extraordinary adventure of Goopi&Bagha
Director: Shilpa Ranade | Email: [email protected]
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Indian Films for Sales & Syndication
FILMS FROM NATIONAL FILM DEVELOPMENT CORPORATION
FOUR COLOURS (CHAURANGA)
A fourteen year old dalit (lower caste) boy is growing up in an unnamed corner of India. His dream is to go to a town school like his elder brother and his reality is to look after the pig that his family owns. His only escape is to sit a top a tree and adore his beloved passing by on her scooter. His unspoken love is as true as his mother’s helplessness who cleans the cowsheds of the local strongman’s mansion, with whom she also has a secret liaison. When the boy’s elder brother comes on a vacation to the village, he soon fi nds out about his younger brother’s infatuation. The learned elder brother makes him realize the need to express his love and helps him write a love letter. Will things remain the same in the village after this love letter is delivered? Especially when the girl is the village strongman’s daughter? Inspired by a true event, Chauranga (Four Colours) is a fi ctional account of six days in a dark corner of India. A story of the violence of class oppression that still exists in Rural India.
Director and Writer: Bikas Ranjan Mishra Production Company: Anti Clock FilmsCo-Production - NFDC
FIG FRUIT AND THE WASPS (ATTIHANNU MATTU KANAJA)
Gouri, a documentary fi lmmaker, takes a journey along with her friend Vittal. She is trying to collect material for her documentary project on instrumental music, and instruments used in some parts of south India. They go to a village with the help of Basanna, a school teacher. They travel to meet an instrumental musician, who has gone some place elsewhere to give a performance. Both are forced to stay in the village till the musician returns. The fi lm tries to capture the human attitude when they are placed in a condition/situation/environment which is familiar and at the same time unfamiliar. As the seemingly simple yet complex situations develop, how these characters fi t in to a landscape and climate as much mental as physical. Some time “vision” isn’t what is visible, sound isn’t exactly what is heard.
Director and Writer: M S Prakash BabuProduction Company: NFDC
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MAJHI THE MOUNTAIN MAN (MAJHI THE MOUNTAIN MAN)
Dashrath Manjhi is famously known in India as “the Man who broke a mountain for love”. The fi lm “Majhi - the Mountain man” is a true story about that legendry man- a story, so true that it is “stranger than fi ction”. Dashrath Manjhi was a poorest of the poor man from the lowest of the low castes, living in a tiny village in the poor state of Bihar. A great big mountain separated this village from the rest of the world. Manjhi, loved his wife beyond belief. One day, as his pregnant wife carried his mid day meal across the mountain to him, she fell down from the mountain and died. Shocked and angry, Majhi swore to break the mountain and make a path so that no one else would ever suffer her fate. With just a hammer and a chisel he started what was perceived as an impossible task.
Director: Ketan Mehta | Writer(s): Ketan Mehta, Mahender Jhakkar Production Company: Maya Movies Pvt LtdCo-Production - NFDC
Cannesnes FiFilmlm MarMarketket 141
SUNRISE (ARUNODAY)
Inspector Joshi is a grieving father searching for his daughter Aruna, kidnapped years ago when she was six. In his despair, life converges with a recurring dream in which Joshi pursues a shadowy fi gure who leads him to ‘Paradise’, a night-club where teenage girls dance to a leering crowd. He is convinced he will fi nd Aruna there and vows to bring her back to Leela, his broken wife.
Director: Partho Sen-Gupta Production Companies: Independent Movies Ltd (IN), NFDC (IN), Dolce Vita Films (FR) Infi nitum Productions (IN), Aryasaa Cine productions (IN)
QISSA
Set in post-colonial India, QISSA tells the story of Umber Singh, a Sikh, who is forced to fl ee his village due to ethnic cleansing at the time of partition in 1947. Umber decides to fi ght fate and builds a new home for his family. When Umber marries his youngest child Kanwar to Neeli, a girl of lower caste, the family is faced with the truth of their identities; where individual ambitions and destinies collide in a struggle with eternity. PRODUCTION COMPANY - HEIMATFILM (Germany)
CO-PRODUCTION COMPANIES - NFDC (India), AUGUSTUS FILM (NETHERLANDS), CINE-SUD PROMOTION (FRANCE)
Director: Anup Singh
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MARKET SCREENINGS FROM INDIA
BAAHUBALI
A mother chooses an adopted nephew over her own son to be the new King. The young King spurns the throne for love. But treachery and betrayal lead to his vile murder leaving behind an ostracised wife. Their rescued infant child raised by tribals returns to avenge his parents.
Director: Rajamouli Sri Sailasri | Producer: Prasad Devineki (Arka Mediaworks), Shobu Yarlagadda (Arka Mediaworks)Cast: Prabhas Uppalapati, Rana Daggubati , Tamannaah Bhatia, Anushka Shetty | International Sales: [email protected]
Tamil, Hindi - Epic, Drama - 145 Minutes
KULDIP PATWAL: I DIDN'T DO IT!
A common man, Kuldip Patwal, has been wronged by the local minister all his life. Now – according to reports – he has, allegedly, killed the Chief Minister in broad daylight in front of tens of eyewitnesses. He says he didn’t do it. But, the State will make sure he gets the capital punishment.
Director: Remy Kohli | International Sales: [email protected] | Rectangle Media Pvt Ltd
Hindi, English - Drama, Thriller, 135 Minutes
UMRIKA
When Udai bhai abandons his native Jitvapur for a bigger and better life in the United States of Umrika, young Ramkant must follow in his footsteps to fi nd out what truly happened to his brother.
Director: Prashant Nair | Producer: Swati Shetty (Samosa Stories Entertainment Pvt. Ltd.), Manish MundraCast: Suraj Sharma, Tony Revolori, Smita Tambe, Adil Hussain, Rajesh Tailang, Amit Sial, Pramod Pathak, Prateik Babbar | International Sales: manish@drishyamfi lms.com
Hindi - Drama, Comedy - 100 Minutes
THURSDAY, MAY 14
Palais K 16:00hrs
Palais I 16:00hrs
Palais K 20:30hrs
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BOMBAY VELVET
Set against the jazz age of Mumbai, the story spans a period from the late 1940’s through to the 1970’s Bombay Velvet is the story of the rise and fall of one boy Balraj who transforms into Karan, a gangster in Mumbai post Independence and on the verge of becoming a metropolisThe story of the rise and fall of one boy Balraj who transforms into Karan, a gangster in Mumbai post Independence and on the verge of becoming a metropolis. Set against the jazz age of Mumbai, the story spans a period from the late 1940’s through to the 1970’s when the fi rst skyscrapers started to be built. It is also his love story with Rosie, a jazz singer from Goa. Jazz clubs, bare-knuckled boxing, a growing city, gangsters fi ghting for a piece of the pie; welcome to Bombay Velvet
Director: Anurag Kashyap | Producer: Fox Star Studios And Phantom Pictures | Cast: Ranbir Kapoor, Anushka Sharma, Karan Johar | International Sales: [email protected]; [email protected]
Hindi - Drama - 212 Minutes
FRIDAY, MAY 15
Palais F 09:30hrs
CROW'S EGG (KAAKAA MUTTAI)
When a pizza parlor opens on their old playground, two carefree slum boys are consumed by the desire to taste this new-fangled dish called ‘pizza’. Realizing that one pizza costs more than their family’s monthly income, they begin to plot ways to earn more money – inadvertently beginning an adventure that will involve the entire city.
Director: M Manikandan | International Sales: [email protected]; [email protected]
Completed - Tamil - Children's, Family, Drama - 99 Minutes
Palais B 11:30hrs
Palais I 18:00hrs
FEAST OF VARANASI
Helen crosses paths with Nana in the forest where he lives next to an old cremation site. Nana senses her guilt and helps Helen free herself from her pain of her mother’s suicide. Arjun Das, a CBI offi cer from New Delhi is sent to Varanasi to fi nd the killer. For Arjun it’s a return to his home and a city he left behind. As the Hindu festival of fi re and colour ‘Holi’ approaches Kasi prepares to claim the greatest sacrifi ce, Helen, and seeks deliverance from Nana, who must prove he is a true aghori, detached from everything.Feast of Varanasi is a taut thriller, which matches a sense of place and narrative to deliver an original and beauty fi lm unlike any other made in India.
Director: Rajan Kumar Patel | Producer: Rajan Kumar Patel (Raafi lms), Ketal Patel (Dreamit Filmit ), Caroline Oreilly (Raafi lms)Cast: Adil Hussain, Tannishtha Chatterjee, Holly Gilbert, Judi Bowker, Ashwath Bhatt | International Sales: rajan@raafi lms.co.uk
Post-Production - Hindi - Drama - 113 Minutes
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ROAR: TIGERS OF THE SUNDARBANS
A thrilling, action adventure, where Uday, a photojournalist rescues a white tiger cub caught in a poacher’s trap. He brings the cub to a local village, causing the villagers to panic until the forest warden takes the cub away. The cub’s mother, a white Tigress, enters the village at night and when she can’t fi nd her lost cub, she unleashes her wrath on Uday and disappears with his dead body. Uday’s brother puts together a crack commando team and a local tracker on a do-or-die mission to recover his brother’s body and kill the white Tigress. The team's quest leads them deep into the dangerous Sundarbans. An exciting hunt ensues, as the white Tigress not only eludes them every time but also manipulates them into her territory. Adding to their predicament, a villainous poacher schemes a plan to use the remaining group as bait to trap the white Tigress for himself. One after another, the hunters become the hunted.
International Sales: roxane@ffi mail.com; Fantastic Films International
Completed - Hindi, English - Action/Adventure - 123 Minutes
UMRIKA
PALAIS H 09:30hrs
International Sales: roxane@ffi mail.com; Fantastic Films International
KULDIP PATWAL: I DIDN'T DO IT!
RIVIERA 4 11:00hrs
International Sales: [email protected] | Rectangle Media Pvt Ltd
LERINS 1 17:30hrs
SATURDAY, MAY 16
GRAY 5 12:00hrs
KAJARYA
An Indian village just 80km from the capital city - New Delhi where there is no place for a girl child. Kajarya is a feature fi lm that has been making waves internationally and deals with the pertinent topic of girl child infanticide & violence against women in India.It is a thriller that pans across the city and village tells the story of two women who collide in a so called developed world where baby girls better be dead
Director: Madhureeta Anand | Producer: Tilak Sarkar (Starfi re Movies), Q Celine Loop (Overdose Joint), Madhureeta Anand (Ekaa Films)Cast: Meenu Hooda, Ridhima Sud, Kuldip Ruhil | International Sales: [email protected]
Hindi - Social Issues, Crime, Bollywood - 108 Minutes
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BOMBAY VELVET
PALAIS F 17:30hrs
International Sales: [email protected]; [email protected]
GRAY 5 14:00hrs
GRAY 5 18:00hrs
BEYOND BLUE - AN UNNERVING TALE OF A DEMENTED MIND
Beyond Blue is an unnerving tale of Manas's demented mind. An unknown crime fantasy fi lm which revolves around a man's mysterious and miserable wonderland.Log LineBeyond Blue is an unnerving tale of Manas's demented mind. An unknown crime fantasy fi lm which revolves around a man's mysterious and miserable wonderland.
Director: Rajsingh Zanane | Producer: Rajesh Acharya (Nanoland Ltd.), Omkar Acharya (Nanoland Ltd.) | Cast: Tushar Pandey, Isheta Sarckar, Dipti Joshi, Ashish Kakkad, Vikas Rathod | International Sales: [email protected]
Hindi - Crime, Fantasy - 99 Minutes
FIREFLIES
A tragic incident from their childhood has colored the relationship of two estranged brothers and their journey to fi nd true love.Firefl ies is the story of two estranged brothers, Shiv and Rana. Living disparate lives, sometimes illuminated by unexpected intimacies and new found hope, the brothers still remain shackled to the darkness of their past. Haunting memories of a tragic incident must be resolved before they can be brothers again.
Director: Sabal Singh Shekhawat | Producer: Sabal Singh Shekhawat | Cast: Rahul Khanna, Arjun Mathur, Shivani Ghai, Monica Dogra | International Sales: [email protected]
English - Family, Drama - 103 Minutes
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SUNDAY, MAY 17
MONDAY, MAY 18
SUNRISE (ARUNODAY)
When a new series of child abductions come up, a detective haunted by the disappearance of his daughter ten years before must race against the clock to save the girls and redeem his soul.
Director: Partho Sen -Gupta | Producer: Marc Irmer (Dolce Vita Films), Partho Sen-Gupta (Independent Movies), Rakesh Mehra (Independent Movies), Ninah Lath Gupta (Nfdc)Cast: Adil Hussein, Tannishta Chatterjee, Ashalata Wabgaonkar | International Sales: [email protected]
Marathi - Crime, Drama, Thriller - 82 Minutes
GOATSPEAK (KHASHI KATHA)
Story about the Journey of a 22 year old girl through Kinship, Friendship, Failure & Success. The freewheeling passion of youth and the unpredictable perils of fate are both the subject and the breathtaking form of 22 year old Salma’s journey through kinship, friendship, love, failure, and success in the boxing ring.
Director: Judhajit Sarkar | Producer: Tilak Sarkar (Starfi re Movies) | Cast: Naseeruddin Shah | International Sales: smilefi [email protected]
Bengali - Drama - 108 Minutes
GRAY 4 11:30hrs
GRAY 5 14:00hrs
BAAHUBALI
PALAIS J 17:30hrs
International Sales: [email protected]
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COUP DE GRACE (KRANTIDHARA)
A positive story of uplifting the society through women empowerment. It depicts the struggle of a woman with her political career and has to face the male chauvinist society. This story takes place with the backdrop of reservation of seats for women in the 3 tier system of administration in India.
Director: Himanshu Khatua | Producer: Iti Samanta (Kadambini Media Pvt Ltd) | Cast: Gargi Mohanty, Samresh Routray, Priya Mishra, Bijaylaxmi Praharaj, Kuresh Mistry, Bhakta Pattanaik | International Sales: [email protected]
Oriya - Documentary, Social Issues - 106 Minutes
THE JOURNEY TO HER SMILE
Debutante woman director exploring the very current and relevant issue of child safety in her movie THE JOURNEY TO HER SMILE. The rise in cases of child abuse and rape in India and worldwide forms the premise and also lends a dark reality to this moving yet gritty tale of Revati. Revati is essentially today's mother, juggling with her career and family. Her world shatters when her fi ve year old daughter is brutally raped. A woman brimming with life, now she is caught in a traumatic labyrinth of despair and disconnects from the world around her. The deep undercurrents of this barbaric act, the impact on the family and if at all she can get back her life, form the plot of this intriguing fi lm.
Director: Sucheta Phule | Producer: Amit Hundekari | Cast: Aastad Kale, Girija Oak, Anahita H
English, Marathi - First Film, Drama - 70 Minutes
PALAIS E 18:30hrs
GRAY 5 18:00hrs
BOMBAY VELVET
PALAIS I 18:00hrs
International Sales: [email protected]; [email protected]
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TUESDAY, MAY 19 THE ANSWER
‘The Answer’ tells the powerful true story of an American, James Donald Walters. The fi lm portrays his youthful quest for truth, which took him from his birthplace in Romania, to Switzerland and England, as far as the United States, where in 1948 in Hollywood, California he has the extraordinary meeting with Paramhansa Yogananda, the great Indian Master, author of ‘Autobiography of a Yogi’. Young Donald - later Swami Kriyananda - is immediately accepted as disciple and so his amazing spiritual journey begins.
Director: Pavan Kaul | Producer: Kaveeta Oberoi Kaul (Yogananda Films / Kriya Movies) | Cast: Victor Banerji, Leonidas Gulaptis | International Sales: [email protected]
English - Drama, Historical - 108 Minutes
MARDAANI (FEARLESS)
Shivani Shivaji Roy is an astute cop working in a Mumbai Crime Branch unit. Deft at picking up hidden clues and fearless in confronting hardened criminals, Shivani stumbles on a case that will change her life forever.A teenage girl is kidnapped by the child traffi cking mafi a and smuggled outside the city. Shivani embarks on an obsessive hunt for the girl and what follows is a cat and mouse game between a fearless cop and a ruthless mafi a kingpin.
Director: Pradeep Sarkar | Producer: Aditya Chopra (Yash Raj Films) | Cast: Rani Mukerji | International Sales: avtar@yashrajfi lms.com
Hindi - Drama - 113 Minutes
PALAIS C 10:00hrs
PALAIS J 15:30hrs
THE ANSWER
PALAIS C 14:00hrs
International Sales: [email protected]
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WEDNESDAY, MAY 20
CALCUTTA DETECTIVE (DETECTIVE BYOMKESH BAKSHY!)
In a contemporary interpretation of war torn Calcutta during the 1940’s, the fi lm follows the fi rst adventure of Byomkesh, fresh out of college, as he pits himself against an evil genius who is out to destroy the world. It’s his wits against the most villainous arch criminal the world has seen, in a world of murder, international political intrigue and seduction.This is the fi rst in a series that will feature Bengali bestseller writer Saradindu Banerjee's most famous creation and India's widest read and best known detective character for the fi rst time in a Hindi feature.
Director: Dibakar Banerjee | Cast: Sushant Singh Rajput | International Sales: avtar@yashrajfi lms.com
Hindi - Action/Adventure - 140 Minutes
MY BIG FAT BRIDE (DUM LAGA KE HAISHA)
The story revolves around the life of a small town couple. From overcoming his fear of the English language to dealing with an overbearing father, Prem discovers that his oversized wife, Sandhya, who he thought was a spanner in his business and life, will actually lead him to something cool.
Director: Sharat Katariya | Producer: Maneesh Sharma (Yash Raj Films) | Cast: Ayushmann Khurrana, Bhumi Pednekar | International Sales: avtar@yashrajfi lms.com
Hindi - Drama, Comedy - 111 Minutes
PALAIS J 17:30hrs
PALAIS H 11:30hrs
KULDIP PATWAL: I DIDN'T DO IT!
PALAIS I 09:30hrs
International Sales: [email protected] | Rectangle Media Pvt Ltd
THE ANSWER
PALAIS C 10:00
International Sales: avtar@yashrajfi lms.com
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Indian Films for Sales & Syndication
THE ANSWER
PALAIS C 14:00
International Sales: avtar@yashrajfi lms.com
PIKU
Piku (Deepika Padukone) juggles her life as a successful architect and being a single parent to her 70-year old father Bhashkor Banerji (Amitabh Bachchan). Getting a life of her own, just doesn’t seem possible – not for the lack of trying but she’s weighed down by the responsibilities of her work, home and a hypochondriac father. While both are deeply attached with one another, they are equally strong headed, stubborn and just won’t let go when dealing with each other’s idiosyncrasies and quirks!When Bhashkor emotionally blackmails Piku to take a road trip from Delhi to native Calcutta, the owner of the local cab company Rana (Irrfan Khan) has no choice but to drive them personally since none of his drivers are willing to endure Piku or her eccentric father. During this crazy road trip they learn to deal with each other’s moods and idiosyncrasies and it reveals more than Bhashkor’s bathroom habits.Piku is a heart warming slice of life fi lm about a father daughter relationship where Bhaskor’s irritating yet endearing demeanor and Piku’s equally headstrong nature may always be at loggerheads but this seemingly dysfunctional relationship is bonded by an understated and an unconditional love that leaves you wanting more.
Director: Shoojit Sircar | Producer: Ronnie Lahiri | Cast: Amitabh Bachchan, Deepika Padukone, Irrfan Khan | International Sales: avtar@yashrajfi lms.com
Hindi - Drama, Comedy - 111 Minutes
PALAIS H 15:30hrs
Log on to www.indiaatcannes.com
for more fi lm listings
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FILMING IN INDIA
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Filming in India
India Film Guide 2015 152
India is the most dramatic shooting location in the world: snowy mountains, pristine islands, plunging ravines, dusty plains--imagine the earth and get it. Here are the top Indian locales.
SHOOTINGLOCALES IN INDIA
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Filming in India
153Cannes Film Market
French fi lm Dheepan, parts of which have been shot in Tamil Nadu, India will vie for the coveted Palm D'Or prize in the Competition Section of the 68th Cannes International Film Festival. India's 'Wide Angle Creations', led by Suresh Balaje and George Pius collaborated with the Paris-based company 'Why Not Productions' to shoot the Jacques Audiard-directed fi lm in India.
Portions of French fi lm Les Cowboys directed by Thomas Bidegain and Produced by Les Productions du Trésor was shot in Rajasthan, India. Les Cowboys will be screened in the Directors’ Fortnight sidebar of the Cannes Film Festival 2015
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Filming in India
India Film Guide 2015 154
Foreign Films Shot in IndiaOver 100 foreign fi lms were given permission to
shoot in India by the Ministry of Information and
Broadcasting in the last three years
2014THE AMAZING TRIP TO
INDIA
CHINA
BOLLYWOOD DREAMS
ISRAEL
HAJI BACKPACKER
INDONESIA
DHAKAR CHELE KOLKATA
MEAY
BANGLADESH
IN HIGH PLACES
UNITED KINGDOM
THE MAN WHO KNEW
INFINITY
UNITED KINGDOM
BEYOND THE KNOWN
WORLD
NEW ZEALAND
THE AMAZING RACE
CHINA
CHINA
LION
AUSTRALIA
SENSE 8
UNITED KINGDOM
PIXELS
CALIFORNIA
GATEWAY TO HEAVEN
CHINA
ALONE
FRANCE
POINT BREAK
GERMANY
HOMELAND SEASON-4
CALIFORNIA
PORNU DAIGHO PREM
KAHANI-2
BANGLADESH
LONDON HAS FALLEN
UNITED KINGDOM
ROMEO VS JULIET
BANGLADESH
MASAAN
FRANCE
UN PLUS UNE
FRANCE
COW BOYS
FRANCE
HAMSAFAR KHORSHID
IRAN (UAE)
DHEEPAN
FRANCE
BLACK DIAMOND
FRANCE
DEV BHOOMI
SERBIA
2013INTERPRETER OF
MALLDIES
NEW YORK, USA
DR. CABBIE
CANADA
I ORIGINS
NEW YORK, USA
VICEROY’S HOUSE
UNITED KINGDOM
NIGHT FALLS IN INDIA MADRID, SPAIN
BASMATI BLUES
USA
TEEN TAAL
UNITED KINGDOM
VICENTE FERRER
SPAIN
BABY SELLERS
NORTH VANCOUVER (BRITISH COLUMBIA)
SHARBAT
NEW YORK, USA
A NEW LIFE
GERMANY
MILLION DOLLAR ARM
CALIFORNIA, USA
BIYER PHANDE
DHAKA, BANGLADESH
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Filming in India
155Cannes Film Market
ARUNODAY
FRENCH
THE HUNDRED FOOT
JOURNEY
UNITED KINGDOM
THE OTHER SIDE OF THE
DOOR
UNITED KINGDOM
SIX SUSPECTS
UNITED KINGDOM
BEST CHANCE
GERMANY
MUMBAI LOVE
PHILIPPINES
THE COOK
GERMANY
THE SECOND BEST
EXOTIC MARIGOLD HOTEL
UNITED KINGDOM
VAGATOR MIXER
USA
AFRAID
USA
TRACES OF SANDALWOOD
SPAIN
THRONGDRONG
CANADA
ME & YOU VS THE WORLD
INDONESIA
EVEREST
UNITED KINGDOM
PARCHED
USA
IRYU (MEDICAL DRAGON)JAPAN
FLIPOUT
UNITED KINGDOM
UTOPIA
UNITED KINGDOM
KABULY PATHAN
AFGHANISTAN
JET TRASH
UNITED KINGDOM
Basmati Blues, USA
London Has Fallen, UK
The Man Who Knew Infi nity, UK
Million
Dollar Arm,
California, USA
I Origins, New York, USA
The Second Best Exotic Marigold Hotel, UK
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Filming in India
India Film Guide 2015 156
WHAT SHOULD ACCOMPANY YOUR
APPLICATION?
You need to send us a simple letter,
telling us of your intention to shoot in
India, mentioning the dates of shooting,
particulars of the cast and crew, and your
chosen locations. Please address your
letter to the relevant address a month
before your planned shooting schedule,
and enclose four copies of the fi nal,
detailed shooting script, a draft/cheque
for US$ 200 drawn in favour of Pay&
Accounts Offi cer, Ministry of I&B, (MS),
New Delhi (that is a fee for scrutiny of the
script), detailed shooting locations and
particulars regarding the cast and crew
coming to India. No fee is required for
shooting documentaries in India.
Should you wish to bring your own shooting
equipment, please send us a list of the
equipment to be temporarily imported. This
will enable us to make a recommendation
to the customs authorities to exempt the
temporary import from customs duty.
Your permission to shoot will normally not
take more than three weeks to process.
The permission letter issued by the
Government of India will facilitate your
permission from other local authorities,
which may, in some cases, need to be
obtained directly from these authorities.
In case any living personality is portrayed
in the fi lm as a Character, we suggest that
you share the script with that personality
or his/her legal heirs, before beginning the
shooting, and obtain a ’No Objection Letter’.
This letter will expedite the clearance of
your application, and also guard against the
possibility of any defamation or libel suits.
If you propose to shoot your fi lm as a
Co-Production, a copy of the agreement
between your company and the Indian
party indicating the role of each party,
its responsibilities and liabilities, must
accompany the application.
Shooting GuideHere is the complete checklist provided by the
Ministry of Information and Broadcasting on obtaining
permission to shoot a feature fi lm in India. It is
advisable to engage a (good) production service com-
pany to help you manage your project.
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157Cannes Film Market
If your fi lm requires shooting in the scenic
but sensitive areas of Jammu & Kashmir,
North Eastern India or border belts, your
application will be considered for specifi c
approval in consultation with the Ministry
of Home Affairs. In such cases, you would
need to allow more time to process your
application.
WHAT WILL THE INDIAN MISSION
IN YOUR COUNTRY DO FOR YOU
Do submit the detailed particulars of all
the members of the shooting team to the
Indian Mission in the country from which
they would be departing for India at the
time, indicating your intention to shoot in
India. Our mission will issue them visas in
the normal course.
OTHER THINGS THAT YOU MAY WANT
TO KNOW
An expert from a panel constituted by us
for this purpose will scrutinize your script.
If considered necessary, to facilitate the
shooting, a liaison offi cer may be attached
to a fi lm shooting team. This offi cer will help
you to get local clearances, and provide an
interface with any local institutions. Where
a liaison offi cer is so attached to the
shooting team, the Government of India
will bear his expenses. In exceptional
cases you may need to show the completed
fi lm to a representative of the Government
of India, in India or in an Indian Mission
abroad, before its release anywhere in the
world. This requirement will apply only to
fi lms made on subjects of political, religious
or socio-cultural sensitivity, and is focused
on ensuring that the fi lm has been shot in
accordance with the scrutinized script and
that the fi lm has nothing objectionable
from the point of view of presentation of
a correct and balanced perspective on the
topic covered.
During the shooting of the fi lm if it is felt
that any material changes or deviation
from the approved script is necessary,
permission may be taken from this Ministry
before shooting these scenes.
Do your homework before picking your facilitator for your fi lm project.
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FORMAT OF THE DRAFT UNDERTAKING TO BE SENT BY THE FOREIGN FILM
PRODUCER TO THE GOVERNMENT OF INDIA
To
The Secretary,
Ministry of Information and Broadcasting
Government of India, New Delhi.
Sub:
Sir,
With reference to the Ministry of Information and Broadcasting’s letter No…………………. dated
………………. we hereby give the following undertakings: -
i. Shooting of the fi lm will be done in locations in India in accordance with the script as approved
by the Government of India. If we consider any material changes are necessary in the script, we
shall obtain, the prior approval of the Government of India for such changes.
ii. We shall furnish the detailed particulars of the members of the shooting team and the exact
locations where the shooting would take place in India at least one month in advance of the ar-
rival of the team in India. We note that prior approval of the Government of India is necessary
for the fi xing of locations for shooting in certain areas.
iii. We note that in the case of assistance to be obtained from other Ministries such as Defence,
Education etc. separate agreements as stipulated by these Ministries, are required to be signed
with them.
iv. We shall shoot the fi lm only in the presence of a Liaison Offi cer where attached to the team by
the Ministry of Information and Broadcasting.
v. We accept that part of the Liaison Offi cer’s duty will be to ensure that nothing detrimental in
the depiction of India or the Indian people shall be shot or included in the fi lm. In the event of
any disagreement arising between the team and the Liaison Offi cer in this respect, the matter
will be immediately referred to the Ministry of Information and Broadcasting whose decision will
be fi nal. We shall ensure that India’s security interests are not compromised in any manner.
vi. We undertake to show our completed fi lm to the representative of the Government of India/
the Indian Mission in*_______________ for scrutiny if recommended by the Ministry of I&B and
we further undertake to delete and destroy the portions of the fi lm that may be found objection-
able on such scrutiny by the Government of India, before the fi lm is utilized for public exhibition
anywhere in the world.
vii. After the shooting of the fi lm is completed in India we shall provide, in duplicate, to the Ministry
of Information and Broadcasting a narrative report about the details of shooting done in India.
Yours truly
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WHAT THE PROFESSIONAL SERVICES
COMPANY WILL DO FOR YOU
Do your homework before picking your
facilitator for your project.
They will be able to assist you with Locations:
Locations across the country
Talent: Actors, models, extras, singers,
dancers, etc.
Technicians: Art directors, cameramen,
costume designers, directors, editors,
lyricists, make up stylists, music directors,
photographers, script writers, sound
recordists, etc.
Equipment: 35mm/16mm cameras (ARRI and
PANAVISION), HD camera, jibs and cranes,
dollys and panthers, steadycams, lenses and
fi lters, lighting equipment and lights, motion
control rigs and gribs, generators, follow cars,
DVD hard disk based sound recorders, mikes
and booms, etc.
Post production facilities: Digital Intermediate
(D.I.), editing (linear and non-linear), grading
at telecines, processing and printing, visual
effects, computer graphics, animation (2D, 3D,
Claymation), sound mixing (rerecording).
Travel and Accommodation: Access to any
part of the country with all sorts of boarding
and lodging facilities.
Legal procedures/Government permissions:
1. Legal contracts and agreements
2. Clearing and forwarding/customs
3. Film fi nance and insurances
Please provide the Information and
Broadcasting Ministry with the following
information while making your enquiry:
Name of the Company
Applicant’s name and designation
Your contact address, email, telephone
nos
Project title and language
Nature of project (Film/TV/Docu/Ad Film)
Synopsis in English
Duration of fi lming in India
No. of crew travelling to India
Equipment and gear to be brought
into India.
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
usfi [email protected]
PH: +91-11-23384995
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KarnatakaLadakh
If the Himalayas can be likened to an oyster, then Ladakh is the pearl. Nestled in the womb of the Himalayas, the main attraction is the 9-storied royal palace styled on the lines of the famous Potala Palace of Tibet. There are the trekking trails, the temples of Chamba and Jo Kang Gompa and the Zanskar Valley.
New DelhiPuducherry
Delhi has been the capital of successive dynasties and was the ‘Jewel in the Crown’ of the British Empire. The city has a continuous living history of more than 3000 years and has been one of the most important cities of India. This eternal city offers a sumptuous banquet of history and heritage, seamlessly in tune with its transformation as one of the world’s fastest growing and largest metropoles today.
Ang Lee’s Oscar winning fi lm ‘Life of Pi’ was shot partly in Puducherry (in South India). That has transformed Puducherry into a paradise for fi lmmakers. A French colony until 1954, this coastal town retains a number of colonial buildings, churches, statues, and systematic town planning and is dubbed ‘The Europe of India’.
Houses the Silicon City of India. And a whole array of health spas. A range of architecture depicted through its palaces, temples, mausoleums, monuments and ruins. Sanctuaries, national parks and waterfalls. Endless beaches, forests, scenic hills and modern cityscapes.
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Maharashtra
India in microcosm, Mumbai, or Bombay as it was once known, provides an excellent backdrop for the race that always fi nishes in the future. Slick and bright urban exteriors that have dark underbellies interrupted by colours that connect across time. Busy bustling daytimes with brightly lit nights that blink and shimmer to a heady beat of people and machines, avant garde and artless, incessantly on the move.
Kolkata
The British are long gone but the colonial infl uence still remains, in the look of its buildings and monuments. Interiors and mindsets that haven’t morphed with the times yet co-exist happily with today. The quaint hand-pulled rickshaws, the Chinese district. The boatsman taking people across the Hoogly as modern vehicles criss-cross the Howrah Bridge.
Gujarat
Gujarat offers beautiful landscapes of various natures, it is interspersed with culture, tradition and festivities. Gujarat has a diverse portfolio of landscapes, from the hills of Saputara, to the white desert in Kutch, from the jungles of Gir to virgin beaches. Such landscapes, coupled with some beautiful heritage structures, make Gujarat a unique destination for fi lmmakers. These locales cater to every mood for every canvas.
Himachal Pradesh
From hills to mountains, capped by snowy peaks; punctuated by passes and glaciers. Dotted by rich fl ora and abundant variety of wildlife with 90% of its seven million population people residing in rural areas. Himachal Pradesh has an abundance of parks, rich with fl ora and fauna and regions that experience temperature extremes.
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RajasthanGoa
The Cannes of India. Currently known as the host city of International Film Festival of India. A land of sun, sea and sand; feni, fun and frolic. Beaches galore, churches and saints, music and dance, festivals and carnivals. Where people enjoy music and dance and raise a toast to celebrate every occasion.
KeralaVaranasi
Kerala, commonly referred to as God’s own country, never lets one down. A small stretch of land, with its cool mountains in the east, rolling hills in the middle which ultimately reach out to the west to the long stretches of pristine, untouched beaches. This unmatched visual feast is complemented by its famous backwaters sandwiched between the sea and the land.
Its university is the seat of knowledge and ancient wisdom and the burning ghats along the river Ganga the apparent route to salvation and eternal peace. Spiritual and mystic moods meld with stark realities of everyday existentialism and the frolic of innocence.
Rajasthan is fi lmmakers’ paradise and a dream destination for fi lm shooting - inspiring forts, majestic mansions, havelis of architectural splendour, heritage hotels, picturesque surroundings, wilderness of silence. The State has a fi lm-friendly policy and encourages fi lmmakers both within and outside the country.
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163Cannes Film Market
Jharkhand
Jharkhand is a nature lover’s paradise. It is home to countless waterfalls -- Hundru Falls, Lodh Falls and Johna Falls. The State’s locales include forests, hills, valleys, waterfalls, wildlife, history, culture, charming towns and vibrant cities. It is an unexplored paradise and will be fi lmmakers’ delight for new locales.
Kashmir
The Dal Lake dotted with innumerable houseboats and the distant snow covered mountains. Each houseboat with its own interior layout. Gulmarg, Sonmarg and Pahalgam at higher levels. A warm and outgoing local populace adding its own unique colour to the surroundings. A hint of uneasiness sometimes. And a visual of debris of violent terror attacks contrasts with the colours and culture of a peace-loving people and the beauty of the general environment.
Hyderabad
Ramoji Film City in Hyderabad is the world’s largest integrated fi lm studio complex and one of Asia’s most popular tourism and recreation centers. Hyderabad features many heritage buildings constructed during Qutb Shahi and Nizam eras, showcasing Indo-Islamic architecture infl uenced by Medieval, Mughal and European styles. Hyderabad houses the Telugu fi lm industry which produces over 200 fi lms each year.
Madhya Pradesh
Madhya Pradesh is called the Heart of India because of its location in the centre of the country. The State has everything -- spectacular mountain ranges, meandering rivers dotted with hills and lakes and miles and miles of dense forests offering a unique and exciting panorama of wildlife in sylvan surroundings. Innumerable monuments, exquisitely carved temples, stupas, forts & palaces are dotted all over the State.
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FILM BODIES
Ministry of Information and Broadcasting, Government of India
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166 India Film Guide 2015
Directorate of Film FestivalsDFF promotes international friendship, provides access
to new trends in world cinema, generates healthy
competition and, in the process, helps improve standard
of fi lms.
Directorate of Film Festivals was set up
by the Government of India in 1973 to
organize International and National
Film Festivals within the country. DFF facilitates
India’s participation in Festivals abroad,
arranges programmes of foreign fi lms in India
and Indian fi lms abroad and holds the National
Film Awards function.
As a vehicle of Cultural Exchange, DFF promotes
International friendship, provides access to
new trends in world Cinema, generates healthy
competition and, in the process, helps to improve
the standards of Indian Films.
These objectives are served by organizing the
following activities.;
The International Film Festival of India.
The National Film Awards and the
Dadasaheb Phalke Award.
Cultural Exchange Programme and
organizing screening of Indian fi lms through
the missions abroad.
Selection of Indian Panorama.
Participation in International Film Festivals
abroad.
Special fi lm expositions on behalf of the
Govt. in India.
Print collection and documentation.
These activities provide a unique platform for
an exchange of ideas, culture and experiences
between India and other countries in the fi eld
of cinema. It also provides a powerful platform
for Indian cinema and opens up commercial
opportunities for Indian fi lms. Within the
country, the latest trends in global cinema are
made accessible to the general public, fi lm
industry and students.
DFF provides a powerful platform for Indian cinema and opens up commercial
opportunities for Indian fi lms
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National Film Awards
The National Film Awards is one of the most
prominent fi lm award ceremonies in India.
Established in 1954, it aims at encouraging the
production of fi lms of aesthetic and technical
excellence and social relevance contributing to
the understanding and appreciation of cultures of
different regions of the country in cinematic form
and thereby also promoting integration and unity
of the nation.
The awards also aim at encouraging the study
and appreciation of cinema as an art form
and dissemination of information and critical
appreciation of this art form through publication
of books, articles, reviews, etc.
The National Awards, along with Indian Cinema’s
highest honour, Dadasaheb Phalke Award, are
presented by the President of India in a solemn
function in the presence of the Union Minister
of Information and Broadcasting, Chairpersons
of the three juries, representatives of Film
Federation of India and Confederation of All India
Cine Employees and senior offi cials. The 62nd
National Film Awards for the year 2014 were
presented on May 3, 2015.
SPOT INFORMATION: + 91 11 26499371
WEBSITE: www.dff.nic.in; EMAIL: [email protected];
Director: C Senthil Rajan; FOCUS: National Film Awards and Dadasaheb Phalke Award, International Film Festival of India including India Panorama, Cultural Exchange Programme and Participation in Film Festivals in India and abroad.
ADDRESS: Directorate of Film Festivals, Ministry of Information & Broadcasting Government of India, Siri Fort Auditorium Complex,August Kranti Marg, New Delhi-110049
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168 India Film Guide 2015
International Film Festival of IndiaThe aim of IFFI is to provide a common platform for the
cinemas of the world to project the excellence of fi lm art
One of the most important activities
of the Directorate of Film Festivals is
organizing the annual International
Film Festival of India (IFFI). The IFFI aims at
providing a common platform for the cinemas
of the world to project the excellence of the
fi lm art; contributing to the understanding
and appreciation of fi lm cultures of different
nations in the context of their social and
cultural ethos; and promoting friendship and
cooperation among people of the world.
Nothing exemplifi es the Indian notion of
non-violence and peaceful coexistence as
Vasudhaiva Kutumbakam (the entire world is
a one big family), the phrase in which the IFFI
and its theme are rooted.
The 1st edition of IFFI was organized by the
Ministry of Information and Broadcasting,
Government of India in 1952. Since its
beginnings in 1952 the IFFI has been the
biggest event of its type in India. In 2004 the
IFFI was moved to Goa.
The IFFI’s founding principles centre
on discovery, promotion and support of
fi lmmaking of all genres – thus bringing
together the diversity of forms, aesthetics and
contents.
The Festival is an assembly of people and
nations where the world’s greatest fi lm
artistes hold hands with emerging talents on
an equal footing. It is also a forum for fi lm
professionals to communicate face to face
with fi lm lovers around the world.
IFFI aims to nurture, encourage and inspire
Indian cinema and introduce it to the world
outside as well as the many audiences that
coexist in this vast and diverse country. With
rapid technology changes, the importance
of this festival will only grow as it will bring
viewers and fi lmmakers together and expose
them to emerging technologies and the
challenge of the emerging new media.
New interactions are envisaged; new strategies
would be formulated so that with each edition
of IFFI, the viewing experience is enhanced,
enlarged and enriched.
• Total number of delegates: 12,755
• Total Award money: Rs 1.2 crore (Indian rupees)
• Life Time Achievement Award to Wong Kar-wai (China)
• One of the oldest festivals in Asia & the biggest in India.
IFFI, Goa, 2014 Stats
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IFFI, GoaFIAPF-recognised International Film Festival
of India, which steps into its 46th year in 2015,
was initially established as part of the national
cultural pedagogic project in tandem with the
Nehruvian vision of promotion of art and culture
in independent India.
The mission was to create a seminal event
to showcase alternate cinema and also to
introduce Indian Cinema to the world and
vice versa.The vision of a ‘National Cinema
Collective’ has also been instrumental in
framing a ‘National Cinema’, the kind of cinema
refl ecting the values and aesthetics the nation.
A total of over 315 fi lms from 80 countries
were screened during the festival. The Russian
Film "Leviathan" has been awarded the Golden
Peacock at the 45th International Film Festival
of India (IFFI) for the Best Film.
SPOT INFORMATION: +91 1126499371, +91 1126499356
WEBSITE: http://www.iffi .nic.in
EMAIL: iffi [email protected], iffi fi [email protected]
DIRECTOR: C Senthil Rajan
OBJECTIVE: Platform for the cinemas of the world
ADDRESS: International Film Festival Of India,Ministry of Information & Broadcasting Government of India, Siri Fort Auditorium Complex, August Kranti Marg, New Delhi-110049
November 20-30, 2015
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170 India Film Guide 2015
Children’s Film Society, IndiaCFSI remains the prime producer of children’s fi lms
in India and has created some of the most delightful
content in the country.
Children’s Film Society, India (CFSI) is
an autonomous body under the Ministry
of Information & Broadcasting,
Government of India. CFSI was constituted
in 1955 to make cinema for children that is
both entertaining as well as educative. Since
then CFSI has been producing, exhibiting
and distributing fi lms, serials, animations &
documentaries as well as numerous other
activities to strengthen the children’s fi lm
movement in India.
CFSI remains the prime producer of children’s
fi lms in India and has created some of the most
delightful children’s content in the country.
Since profi t is not the only motive, CFSI is able
to support young talented fi lmmakers and
their imaginative fi lms that would otherwise
not fi nd other commercial producers.
CFSI fi lms always encourage children to
refl ect upon and engage with the world around
them. These fi lms are made in several Indian
languages and emanate from diverse cultural
regions within India. Several stalwarts from
the Indian fi lm industry have directed fi lms
for CFSI and many of its fi lms have won
prestigious international and national awards.
CFSI promotes fi lms that provide healthy
and wholesome entertainment for children
to broaden their perspective and encourage
them to refl ect on the world around. With an
enviable catalogue of 250 fi lms in 10 different
languages, CFSI remains the prime producer
of children's fi lms in South Asia. We also
organise fi lm screenings across the country,
reaching out to approximately four million
children annually.
CFSI is committed to strengthening the
children's fi lm movement within India and
promoting Indian produced children's fi lms
across the globe. CFSI also conducts a world
renowned biennial International Children’s
Film Festival ‘Golden Elephant’.
With a catalogue of 250 fi lms in 10 languages, CFSI remains the prime
producer of children's fi lms in South Asia
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SPOT INFORMATION: + 91 22 – 2352 2870
WEB SITE: www.cfsindia.org
EMAIL: [email protected]; [email protected];
CEO: Shravan Kumar
FOCUS: To strengthen children's fi lm movement in India.
ADDRESS: Children's Film Society India,
8th Floor, Films Division Complex
24-Dr. G. Deshmukh Marg,
Mumbai-400 026 (India)
International Children’s Film Festival India (ICFFI),
also popularly known as The Golden Elephant, is a
biennial festival that strives to bring the most delightful
and imaginative national and international children’s
cinema to young audiences in India. Outstanding features,
shorts, live action and animation fi lms are screened over
seven days of festive celebrations, attended by more
than one hundred thousand children. Hundreds of fi lm
professionals from across the world meet in Hyderabad,
Andhra Pradesh.
The 19th edition of 'The Golden Elephant,' will take
place from November 14 - 20. The fi lms produced
between August 2013 to July 2015 are eligible for
participation in Competition Section of the Festival. A
Selection Committee of experts from the fi lm world and
allied fi elds will preview the fi lms received for different
sections of the Festival and select for festival screening.
The last date for call of entries will be 31st July 2015.
For further assistance contact Festival Coordinator –
icffi @cfsindia.org
International Children’s Film Festival India
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172 India Film Guide 2015
Films DivisionFilms Division has actively worked in encouraging
and promoting a culture of documentary fi lmmaking
in India thatrespects individual vision and social
commitment.
The Films Division of India was
established in 1948 to articulate the
energy of a newly independent nation.
For more than six decades, the organization
has relentlessly striven to maintain a record of
the social, political and cultural imaginations
and realities of the country on fi lm. It has
actively worked in encouraging and promoting
a culture of documentary fi lmmaking in India
that respects individual vision and social
commitment.
It is the main fi lm-medium organization of the
Government of India and is well equipped with
trained fi lm personnel, cameras, recording
and editing facilities. This infrastructure is put
to use to assist in-house as well as freelance
fi lmmakers and producers.
In its archives, the Films Division of India
holds more than 8000 titles on documentaries,
short fi lms and animation fi lms.
Some of the fi lms produced by Films Division
are telecast on national / local television
networks. Educational institutions and social
organisations all over the country borrow
fi lms of Films Division from its branch offi ce
libraries maintained all over India. VCD/DVD of
the fi lms are sold to interested people, public
and private institutions at nominal cost.
The External Publicity Division of Ministry of
External Affairs, Govt. of India, distributes
prints of selected fi lms to Indian Missions
abroad. The fi lms are also commercially
exploited on Royalty basis by supplying to
overseas video /TV networks.
Films Division has 10 Distribution Branch
Offi ces located in Bangalore, Mumbai
(Bombay), Kolkata, Hyderabad, Lucknow,
Chennai (Madras), Madurai, Nagpur,
Thiruvananthapuram and Vijayawada, which
cater to over thousands of cinema houses in
the country with an audience of about ninety to
hundred million per week. Films Division also
supplies CDs to mobile units of the Directorate
of Field Publicity and the Departments of
Central as well as State Governments.
Films Division has experienced and trained
technical and non–technical persons for
fi lmmaking, right from script writing to
distribution. It is well equipped with movie
cameras, video cameras, sound recording and
video equipment. It has on-line video editing
facilities with the latest and best available
equipment in the world. These resources
(including video editing) are available to
outsiders also, on rental basis.
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Mumbai International Film Festival
The Mumbai international Film Festival for Documentary,
Short and Animation fi lms (MIFF) is a biennial competitive
event organised by the Films Division, Ministry of Information
& Broadcasting, Government of India. The Government of
Maharashtra supports the festival with a Grant-in-Aid. The MIFF,
which began in the year, 1990 is the oldest and largest fi lm festival
for non-feature genre in the South Asia and Films Division has
successfully organized 13 editions of the fi lm festival. The 14th
edition of MIFF will be held in January-February,2016 in Mumbai.
The MIFF attracts best fi lms from all over the world which vie for
top honours including Golden Conches and attractive cash awards.
Apart from Indian and International Competition categories,
MIFF also have sections like MIFF Prism, Homages, Country
Focus, Retros and Special Packages. A veteran from the Indian
documentary fraternity is honoured with the Dr. V Shantaram
Lifetime Achievement in the MIFF. The festival also hosts events
like seminars, work shops, lecture-demonstrations, Master classes,
Producers Forum, Doc edge and Open Forum.
SPOT INFORMATION: +91 22 2355 1301/2351 3633
WEBSITE: http://www.fi lmsdivi-sion.org / www.miff.in
EMAIL: dgfd@fi lmsdivision.orgdgfi [email protected]
DG: V. S. Kundu
OBJECTIVE: Promoting docu-mentary fi lm culture in India
ADDRESS: Films Division, Minis-try of Information & Broadcast-ing, Government of India, 24 – Dr. G. Deshmukh Marg, Mumbai-26.
We need image here
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Indian Film Bodies
174 India Film Guide 2015
National Film Development CorporationAs the name suggests, NFDC does a lot for the growth of
Indian cinema. It breaks new grounds by co-producing
movies, facilitates services and organises Film Bazaar.
Incorporated in the year 1975, NFDC was
formed by the Ministry of Information and
Broadcasting, with the primary objective of
promoting the Good Cinema Movement.
NFDC has over the years produced noteworthy
fi lms with acclaimed fi lmmakers like
Ghare-Baire(Satyajit Ray), Gandhi (Richard
Attenborough), The Making of the Mahatma
(ShyamBenegal), Salaam Bombay (Mira
Nair), JaaneBhi Do Yaaro(Kundan Shah),
MirchMasala(Ketan Mehta), The Lunchbox
(RiteshBatra), The Good Road (Gyan Correa),
among many others.
With fi nancial support extended to more than
300 fi lms in 21 regional languages, NFDC’s
architecture aims towards creating domestic
and global appreciation of good cinema.
Apart from its unique positioning in the fi lm
industry as a fi lm development agency, NFDC
also functions as a business unit by producing
advertisement campaigns supplemented with
360 degrees support to government clients. So far,
NFDC has strategized and developed signifi cant
communications for the Ministry of Women and
Child Development, Ministry of Environment &
Forests, Ministry of Rural Development, Ministry
of Minority Affairs, Ministry of Consumer Affairs,
amongst many others.
In addition to production of fi lms, NFDC has
been instrumental in creating an ecosystem
to support the development, fi nancing and
distribution of independent fi lms across the
country. Film Bazaar, a NFDC initiative, has been
an integral part of this process.
NFDC organizes Film Bazaar(20th - 24th
November 2015, Goa Marriott Resort), side by
side the International Film Festival Of India,
Goa (20TH -30TH November, 2015). The Film
bazaar is South Asia’s global Film Market, which
is a platform exclusively created to encourage
collaboration between the international and
South Asian fi lm fraternity. The Bazaar is focused
on discovering, supporting and showcasing
South Asian content and talent, in the realm
of fi lmmaking, production and distribution. A
converging point for fi lm buyers and sellers
from all over the world, the Bazaar also aims
at facilitating the sales of world cinema in the
South Asian Region. The 2014 market saw an
attendance of 1042 delegates from 38 countries.
Film Offi ces, a new segment, has been introduced
at Film Bazaar 2014, to bring to our fi lmmakers
the world of picturesque locations that would
fi t into their scripts and add value to their fi lms.
The basic objective of Film Offi ces is to connect
Indian State Tourism bodies and International
Film Commissions with Indian fi lmmakers.
The Offi ces provide these organizations with
a platform to showcase their locations and
incentives that will benefi t both the country and
the fi lmmaker.
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Cannes Film Market 175
NFDC organises the Film Bazaar (20th - 24th
November 2015, Goa Marriott Resort), South
Asia’s global Film Market, which is a platform
exclusively created to encourage collaboration
between the international and South Asian fi lm
fraternity. The Bazaar is focused on discovering,
supporting and showcasing South Asian
content and talent, in the realm of fi lmmaking,
production and distribution. A converging
point for fi lm buyers and sellers from all over
the world, the Bazaar also aims at facilitating
the sales of world cinema in the South Asian
Region. Film Offi ces, a new segment, has been
introduced at Film Bazaar 2014, to bring to
Indian fi lmmakers the world of picturesque
locations that would fi t into their scripts and add
value to their fi lms. The Offi ces provide these
organisations with a platform to showcase their
locations and incentives that will benefi t both
the country and the fi lmmaker.
Film Bazaar India
SPOT INFORMATION: +91 22662 88288
WEBSITE: http://www.nfdcindia.com/
EMAIL: [email protected]
MD: Nina Lath Gupta
OBJECTIVE: Promote South Asian Cinema
ADDRESS: National Film Development Corporation, 6th Floor, Discovery of India Building, Nehru Centre, Dr. Annie Besant Road, Worli, Mumbai 400 018, Maharashtra.
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Indian Film Bodies
176 India Film Guide 2015
Film and Television Institute of India, PuneDesigned for a new generation storytellers, the Film and
Television Institute of India is for visual and performing
artists who share a passion for motion pictures and
want to learn more.
The Film and Television Institute of
India is designed for a new generation
of storytellers: visual and performing
artists who share a passion for motion
pictures and want to learn by making their
own projects in a hands-on, intensive program.
FTII students are not lost in large classes. As
an explicit policy, we limit class size to make
individual attention and interaction among
students and instructors possible. All students
are encouraged to meet faculty one-on-one for
consultation throughout their course, creating
an environment that promotes personal
development and learning.
In keeping with this philosophy, FTII takes
pride in its open door policy of admission.
Students from diverse backgrounds and from
all walks of life are welcome. This nurtures
a supportive, positive atmosphere conducive
to the level of collaboration required to do
great work. Celebrated guest speakers from
the fi lm, television, and media industries
frequently visit FTII to share their knowledge
and experience with our students.
Learning to be a Director, Cinematographer,
Editor, Sound Designer, Art Director, Actor,
Screen Play Writer or Animator is not done
“by mere numbers.” It is done by hands-
on experience, trial and error, feedback and
correction, and questions and answers.
Filmmaking demands the integration of many
kinds of knowledge. It is the integration of
knowledge that distinguishes FTII from many
other fi lm schools.
Women in Film and Television, India (WIFT)
was launched last year at FTII, Pune. WIFT
India is a global not-for-profi t organisation
dedicated to provide a dynamic platform to
facilitate and recognize the achievement of
women in fi lm, TV and multi-screen media.
SPOT INFORMATION: +91-020-25431817
WEBSITE: http://www.ftiindia.com
EMAIL: [email protected]
DIRECTOR: D.J.Narain
OBJECTIVE: National Centre of Excellence
ADDRESS: Film and Television Institute of India, Law College Road, Pune – 411 004
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Cannes Film Market 177
Satyajit Ray Film and Television Institute, KolkataA national centre of excellence which offers post gradu-
ate programmes in cinematic studies, the institute is
named after legendary fi lmmaker Satyajit Ray.
Named after the legendary fi lm maestro
Satyajit Ray, the Institute has emerged
as a national centre of excellence which of-
fers post-graduate programmes in Cinematic
studies.
SRFTI has succeeded in articulating and
disseminating classical and contemporary
theories of praxis for creative minds to leap
into the world of professional practice: be it
mainstream, parallel/art-house, experimen-
tal or non-fi ction narratives. The Institute has
crossed many milestones towards a new par-
adigm of the art and craft of Filmmaking.
SRFTI’s alumni have won accolades regularly
through their mastery over fi lmmaking. They
have been trendsetters, changing the course
of fi lmmaking through the fusion of thought,
craft and entrepreneurial abilities. By prov-
ing their mettle as dedicated professionals,
they have increased the acceptability of cur-
rent students in the complex and competitive
world of fi lmmaking.
With state-of-the art facilities, SRFTI pro-
vides a creative ambience to inspire the bud-
ding fi lmmakers with an innovative language
of artistic expression.
And their contribution builds the blocks for
better Cinema. SRFTI is a member of CILECT,
International Association of Film and Televi-
sion Schools (Centre International de Liaison
des Ecoles de Cinéma et de Télévision).
SRFTI will soon commence three year post
graduate programme in Animation.
SPOT INFORMATION: +91-033-24328355/8356/9300
WEBSITE: www.srfti.gov.in
EMAIL: [email protected]
DIRECTOR: Sanjay Pattanayak
OBJECTIVE: National Centre of Excellence
ADDRESS: Satyajit Ray Film & Television Institute, E.M.Byepass Road, P.O. Panchasayar, Kolkata-700094
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179Cannes Film Market
CO-PRODUCTION AGREEMENTS
Between India & other Countries
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The Government of the Republic of India and the Government of the Federative Republic of Brazil (hereinafter referred to as “the Con-tracting Parties”)Seeking to enhance co-operation between their two countries in the audio-visual area;Desirous of expanding and facilitating the Co-Production of audio-visual works, which may be conducive to the development of the fi lm and audio-visual industries of both countries and to the expansion of cultural and economic exchanges between them;Convinced that these exchanges will contribute to the enhancement of relations between the two countries;
Have agreed as follows:
Article 1
Defi nitionsFor the purposes of this Agreement
“Audiovisual Co-Production” means an 1. audiovisual work jointly invested in and produced by one or more Brazilian Co-producers and one or more Indian Co-producers under a project approved by both Competent Authorities.
“Audiovisual Work” means any record of a 2. sequence of related images, irrespective of length, which is intended to be made visible as a moving image through the use of devices, regardless of the medium of initial or subsequent fi xation, and for which there is an expectation for public exhibition. It includes fi lms and video recordings, animation and documentary productions for exploitation in theatres, on television, DVD or by any other form of distribution. New forms of audiovisual production shall be included in the present agreement by exchange of Notes between the Contracting Parties.
“Co-producer” shall be:3.
As regards the Republic of India:a.
Nationals/citizens of the Republic (i) of India;
Permanent residents of India; and (ii)
Entities which are established (iii) and/or incorporated in India.
As regards the Federative Republic of b. Brazil:
BRAZILAGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC
OF INDIA AND THE GOVERNMENT OF THE FEDERATIVE
REPUBLIC OF BRAZIL ON AUDIO VISUAL CO-PRODUCTIONS.
Th G f h R bli f I di d “A di i l W k” d f2
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Nationals/citizens of the Federative (i) Republic of Brazil;
Permanent residents of Brazil; (ii) and
Entities which are established (iii) and/or incorporated in Brazil.
“Competent Authority” means:4.
On behalf of the Federative Republic of a. Brazil, the Ministry of Culture; and
On behalf of the Republic of India, b. the Ministry of Information and Broadcasting.
Article 2
Benefi tsAn Audiovisual Co-Production shall 1. be treated as a national Audiovisual Work by both Contracting Parties and, therefore, shall be fully entitled to all the benefi ts which are or may be accorded to national audiovisual works by each of the Contracting Parties under their respective national laws.
Any benefi ts available in Brazil may only 2. be accorded to a Brazilian Co-producer.
Any benefi ts available in India may only be 3. accorded to an Indian Co-producer.
The sharing of expenses and revenues shall 4. be as mutually decided by the Co-producers.
Article 3
Approval of ProjectsAudiovisual Co-Productions shall 1. require, prior to the commencement of shooting, approval of both the Competent Authorities.
Approvals are granted under their 2. respective national laws, shall be in writing and shall specify the conditions upon which the approval is granted. None of the Co-producers shall be linked by common management, ownership or control, save to the extent that such links are inherent in the making of the Audiovisual Co-Production itself.
In considering proposals for the making 3. of an Audiovisual Co-Production, both Competent Authorities shall apply the rules and principles set out in this Agreement as well as in its Annex, with due regard for their respective policies and guidelines.
Article 4
ContributionsFor each Audiovisual Co-Production:1.
The performing, technical, craft a. and creative participation of the Co-producers; and
The production expenditure of the Co-b. producer in the Republic of India or in the Federative Republic of Brazil shall be in reasonable proportion to their respective fi nancial contributions and as mutually decided by both the Co-producers.
Both the fi nancial contribution, and the 2. managerial, performing, technical, craft and creative participation of each Co-producer shall account for at least 20% (twenty per cent) of the total budget of the Audiovisual Co-Production.
Notwithstanding the contribution and 3. participation rules set out in paragraphs 1 and 2 of this Article, in exceptional cases both Competent Authorities may approve Audiovisual Co-Productions where:
The contribution by one Co-producer is a. limited to the provision of fi nance only, in which case the proposed fi nance-only contribution shall be 20% (twenty per cent) or more of the total budget of the Audiovisual Co-Production; or
Despite falling outside the contribution a. rules, the Competent Authorities consider that the project would further the objectives of this Agreement and should be approved accordingly.
Subject to the specifi c conditions and limits 4. laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral Co-Productions the minority
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India Film Guide 2015 182
contribution may not be less than 10% (ten per cent), and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the Audiovisual Work.
Article 5
Third Country Co-ProductionsWhere either the Republic of India or the 1. Federative Republic of Brazil maintains with a third country an Audiovisual Co-Production agreement, the Competent Authorities may approve a project for an Audiovisual Co-Production under this Agreement that is to be made in conjunction with a Co-producer from that third country.
Approvals under this Article shall be limited 2. to proposals in which the contribution of the third country Co-producer is no greater than the lesser of the individual contributions of the Brazilian and Indian Co-producers.
Article 6
ParticipantsThe screenwriters, the director, actors 1. and other artistic and technical personnel participating in an Audiovisual Co-Production shall be:
As regards the Republic of India,a.
Nationals/citizens of Republic of (i) India; and
Permanent residents of India. (ii)
As regards the Federative Republic of b. Brazil,
Nationals/citizens of the Federative (i) Republic of Brazil; and
permanent residents of Brazil.(ii)
In cases in which there is a third Co-c. producer,
Nationals/citizens of the third Co-(i) producer’s country; and
Permanent residents of the third (ii) Co-producer’s country.
Participants in an Audiovisual Co-2. Production as defi ned in this Article must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity.
In exceptional cases, both Competent 3. Authorities may approve Audiovisual Works
where script or fi nancing dictate the a. engagement of performers from other countries; and
where artistic or fi nancing reasons b. dictate the engagement of technical personnel from other countries.
Article 7
Negatives, First-Release Print and LanguagesAt least one negative and one duplicate 1. negative shall be made of all Audiovisual Co-Productions. Each Co-producer shall be entitled to make a further duplicate or prints there from. Each Co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the Co-producers themselves. The storage of the original negative shall be as mutually decided by the Co-producers.
Audiovisual Co-Productions shall be made 2. and processed up to the manufacture of the fi rst release print in the Republic of India or in the Federative Republic of Brazil or, when there is a third Co-producer, in that third Co-producer’s country.
The original soundtrack of each Audiovisual 3. Co-Production shall be made in Hindi, or any other Indian language or dialect, or in English or Portuguese, or in any combination of those permitted languages. Dialogue in other languages may be included in the Audiovisual Co-Production, as the script requires.
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The dubbing or subtitling into one of the 4. permitted languages of the Republic of India or into Portuguese shall be carried out in the Republic of India or in the Federative Republic of Brazil. Any departure from this principle must be approved by the Competent Authorities.
Article 8
International FestivalsThe majority Co-producer shall normally 1. enter Audiovisual Co-Productions in international festivals.
Audiovisual works produced on the basis 2. of equal contributions shall be entered as an Audiovisual Work of the country which the director is from.
Article 9
Location ShootingThe Competent Authorities may approve 1. location shooting in a country other than those of the participating Co-producers.
Notwithstanding Article 6, where location 2. shooting is approved in accordance with the present Article, citizens of the country in which location shooting takes place may be employed as crowd artists, in small roles, or as additional employees whose services are necessary for the location work to be undertaken.
Article 10
CreditsAn Audiovisual Co-Production shall include a title, in the initial credits, indicating that the Audiovisual Work is an “Offi cial Indian – Brazilian Co-Production” or an “Offi cial Brazilian – Indian Co-Production”. The promotional material associated with the audiovisual work shall likewise include a credit refl ecting the participation of the Republic of India, the Federative Republic of Brazil and, when relevant, the country of a third Co-producer.
Article 11
Temporary Entry into the CountryFor approved Audiovisual Co-Productions, 1. each Contracting Party shall facilitate, in accordance with the domestic law in force in its country:
Entry into and temporary residence in a. its territory for technical and artistic personnel of the other Contracting Party;
The import into and export from b. its territory of technical and other fi lmmaking equipment and materials by producers of the other Contracting Party; and
The transfer of funds destined for c. payments related to the audio-visualCo-Productions.
These dispositions also apply to third 2. parties, approved under Article 5 of the present agreement.
Article 12
Joint CommissionA Joint Commission shall be established 1. comprising representatives of the Competent Authorities from both Contracting Parties.
The role of the Joint Commission shall 2. be to evaluate the implementation and operation of this Agreement and to make any proposals considered necessary to improve the effect of the Agreement.
The Joint Commission shall be convened, 3. whether by meeting or otherwise, at the request of either of the Contracting Parties within six months of such a request.
Article 13
Entry into ForceThis Agreement shall enter into force on 1. the date of the second notifi cation between the Contracting Parties, through diplomatic channels, conveying that the requirements for the entry into force of this Agreement have been satisfi ed.
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Co-Production Agreements
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This Agreement including the Annex, which 2. forms an integral part of this Agreement, shall remain in force for an unlimited period of time, unless terminated in terms of paragraph 3 of this Article.
Either Contracting Party may terminate 3. this Agreement by giving six months` written notice in advance of such intention to the other Contracting Party through the diplomatic channel.
Termination of this Agreement shall have 4. no effect on the completion of Audiovisual Co-Productions approved prior to its termination.
Article 14
Permission for Public ExhibitionPermission for public exhibition will be in 1. accordance with local laws in both India and Brazil.
The approval of Co-Production status 2. under this Agreement will not mean a commitment to permit public exhibition of the Audiovisual Co-Production.
Article 15
AmendmentThis Agreement may be amended by 1. mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through diplomatic channel.
Article 16
Dispute ResolutionAny dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation only.
DONE at New Delhi, on the of June, 2007, in two originals in Hindi, Portuguese, and English, each version being equally authentic. In case of any divergence of interpretation, the English text shall prevail.
For the Government of Republic of INDIA
For the Government of FederativeRepublic of BRAZIL
Annexure to Agreement between the Government of the Republic of India and the Government of the Federative Republic of Brazil on Audio Visual Co-Productions (Rules of procedure for applications for approval of Co-Production status under this agreement)
ANNEX
Applications for qualifi cation of an 1. Audiovisual Work for Co-Production benefi ts under this Agreement must be made simultaneously to both Competent Authorities at least 60 (sixty) days before shooting begins.
The Competent Authority of one of the 2. Contracting Parties shall communicate their decision to the other Competent
Authority within thirty (30) days of the submission of the complete documentation.
The approval process under Article 3 of 3. this Agreement shall comprise of approval prior to commencement of shooting of the Audiovisual Work.
Documentation submitted in support of an 4. application shall consist of the following items, drafted in English in the case of India and in Portuguese in the case of Brazil:
The fi nal script and synopsis.a.
Documentary proof of having legally b. acquired the copyright to produce and exploit the Audiovisual Work.
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A copy of the Co-Production contract c. signed by the Co-producers. The contract shall include:
The title of the Co-Production;(i)
The name of the original script writer (ii) or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a fi lm from the author/legal heirs shall be attached;
The name of the director (a (iii) substitution clause is permitted to provide for his/her replacement if necessary);
The budget, identifying the (iv) expenses to be incurred by each Co-producer;
The fi nancing plan;(v)
A clause establishing the sharing (vi) of revenues, markets, media or a combination of these;
A clause detailing the respective (vii) shares of the Co-producers in any over expenditure; the minority Co-producer’s share may be limited to a lower percentage or to a fi xed amount, provided that the minimum proportion permitted under Article 4 of the Agreement is respected;
A clause recognizing that (viii) admission to benefi ts under this Agreement does not constitute a commitment that governmental authorities in India will grant a license to permit public exhibition of the Audiovisual Work;
A clause prescribing the measures (ix) to be taken where:
After full consideration of 1. the case, the Competent
Authorities in either country refuse to grant the benefi ts applied for;
Either one or the other 2. Contracting Party fails to fulfi l its commitments.
The period when shooting is 3. to begin;
A clause stating that the 4. majority Co-producer shall take out an insurance policy covering at least “all production risks” and “all original material production risks”; and
A clause providing for the 5. sharing of the ownership of copyright on a basis that it is proportionate to the respective contributions of the Co-producers.
5. The distribution contract, if it has already been signed, or a draft if it has yet to be concluded.
6. A list of the creative and technical personnel indicating their nationalities.
7. The production schedule.
8. Final shooting script.
9. The Competent Authorities can demand any further documents and all other additional information deemed necessary.
10. Amendments, including the replacement of a Co-producer, may be made in the original contract, but they must be submitted for approval by the Competent Authorities before the Audiovisual Co-Production is fi nished. The replacement of a Co-producer may be allowed only in exceptional cases and for reasons satisfactory to the Competent Authorities.
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CANADAAUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN
THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE
GOVERNMENT OF CANADA.
The Government of the Republic of India and the Government of Canada (the “parties”),Recognizing that quality audiovisual co-pro-ductions contribute to the vitality of the au-diovisual industries of the Parties and to the development of their economic and cultural exchanges;
Appreciating that cultural diversity is nur-tured by ongoing exchanges and interaction between cultures and that it is strengthened by the free fl ow of ideas;
Recalling that, in pursuit of international co-operation, the UNESCO Convention on the Protection and Promotion of Diversity of Cul-tural Expressions, done at Paris on October 20, 2005, encourages the conclusion of co-pro-duction agreements as a means to promote international cooperation;
Agreeing that these exchanges will enhance relations between the Parties;
Recognizing that these objectives may be achieved by granting domestic benefi ts to qualifi ed audiovisual co-productions;
Have agreed as follows:
ARTICLE 1 - DEFINITIONS
For the purposes of this Agreement:
(a) “administrative authority” means, for each Party, the authority which administers the application of this Agreement;
(b) “audiovisual” means fi lm, television, and video projects made on any production support, existing or future, for any distribu-tion platform intended for viewing;
(c) “Canadian elements” are expenditures made in Canada by the Canadian producer or expenditures on Canadian creative and technical personnel made in other States by the Canadian producer in the course of the production of a work;
(d) “competent authority” means, for each Party, the delegated authority responsible for the negotiation and implementation of this Agreement;
(e) “distribution or broadcasting” means the public exhibition or showing of an audiovi-sual work;
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(f) “Indian elements” are expenditures made in India by the Indian producer or expendi-tures on Indian creative and technical per-sonnel made in other States by the Indian producer in the course of the production of a work;
(g) “national” means a natural or legal person having a legal relationship which connects that person to a State and which confers to that person, under the law of that State, the right to benefi t from the application of the relevant provisions of this Agreement;
(h) “non-party” means a State which does not have a coproduction Agreement or memo-randum of Understanding with either Party;
(i) “producer” means a national managing the production of a work;
(j) “third-country” means a State which has a co-production Agreement or memoran-dum of Understanding with at least one of the Parties;
(k) “work” means an eligible audiovisual work to be subsequently recognized as an of-fi cial co-production by each Party and in-cludes every version thereof.
ARTICLE 2 - GENERAL CONDITIONS
A Party shall treat every work as its own 1. production, and to that extent, make it eligible for the same benefi ts as those available to its audiovisual industries.
Each Party shall grant the benefi ts 2. referred to in paragraph 1 to the producers of a work who are its own nationals.
Each Party shall strive to achieve overall 3. balance on the fi nancing of works co-produced over a period of fi ve years.
ARTICLE 3 - PARTICIPATING
PRODUCERS
A work shall be jointly produced by 1. producers of both Parties.
In addition to producers of Canada and 2. India, third-country producers may also participate in a work.
ARTICLE 4 - PROPORTIONALITY
The share of work expenditures spent 1. on Canadian elements and on Indian elements respectively shall be in reasonable proportion to the producers’ respective fi nancial contribution.
The administrative authorities may, by 2. mutual consent in writing, recommend exemptions from paragraph 1, notably for storyline and creative purposes.
ARTICLE 5 - NATIONALITY OF
PARTICIPANTS
Subject to paragraph 2, a participant in 1. a work shall be a national of one of the Parties.
The administrative authorities may 2. by mutual consent in writing grant exemptions from paragraph 1 notably to allow third-country nationals or non-party nationals to participate in a work for storyline, creative, or production purposes.
ARTICLE 6 - TEMPORARY ENTRY AND
RESIDENCE
Subject to the Parties’ respective legislation and regulations, the Parties shall facilitate the following: (a) The temporary entry into and residence in
their respective territories of the creative and technical personnel and the perform-ers engaged by the producer of the other Party for the purposes of the work;
(b) The temporary entry and re-export of any equipment necessary for the purposes of the work.
ARTICLE 7 - COPYRIGHT
The Parties shall ensure that the sharing of copyright and revenues between the produc-ers is, in principle, proportional to their respec-tive fi nancial contribution in accordance with the respective requirements of the Parties.
ARTICLE 8 - DISTRIBUTION
Each Party shall verify that its producer 1. demonstrates the existence of a distribution or broadcasting commitment
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in each other’s territory and, if third-country producers are involved in the work, in the territory of each of the third country producers.
The administrative authorities may by 2. mutual consent in writing, accept an alternative distribution commitment in lieu of the commitment described in paragraph 1, provided that the producers of a work demonstrate that this alternative commitment exists.
ARTICLE 9 - MATERIAL CHANGES
Each Party shall ensure that its producer promptly advises its administrative authority of any material change to a work that may affect its qualifi cation for benefi ts under this Agreement.
ARTICLE 10 - COMMUNICATION
Each competent authority shall promptly ad-vise the other of any amendment or judicial interpretation of domestic law that may affect benefi ts available under this Agreement.
ARTICLE 11 - STATUS OF ANNEX
The Annex to this Agreement is for 1. administrative purposes and is not part of this Agreement.
The Annex may be modifi ed by the 2. competent authorities by mutual consent in writing, provided that the modifi cations do not confl ict with this Agreement.
ARTICLE 12 - MEETINGS AND
AMENDMENTS
Meetings will be held as needed between 1. representatives of the competent authority of each Party, to discuss and review the terms of this Agreement.
The Parties may amend this Agreement 2. by mutual consent in writing. The amendments shall enter into force on the date of the last written notifi cation that
domes tic procedures necessary for the entry into force have been completed by the Parties.
ARTICLE 13 - TRANSITIONAL
PROVISION
A Party shall not discontinue benefi ts con-ferred on a work pursuant to this Agreement for a period of two years following the termi-nation of this Agreement.
ARTICLE 14 - SETTLEMENT OF
DISPUTES
Any dispute arising out of the interpretation, application or implementation of any provi-sions of this Agreement shall be settled con-sensually through consultation and negotia-tion between the Parties.
ARTICLE 15 - ENTRY INTO FORCE
Each party shall notify the other Party in 1. writing of the completion of its internal procedures required for the entry into force of this Agreement. This Agreement shall enter into force on the fi rst day of the fi rst month following the later notifi cation.
This Agreement shall remain in force for a 2. period of fi ve years from the date of entry into force.
Subject to paragraph 4, this Agreement 3. shall renew automatically at the end of fi ve years from the date of entry into force and at the end of every subsequent fi ve-year period.
A Party may give notice to the other Party 4. in writing of its intention to terminate this Agreement. This notice shall be given no less than six months before the end of the fi fth year following the entry into force, or before the end of any subsequent fi ve-year period, in which case this Agreement shall terminate at the end of that fi ve-year period.
IN WITNESS WHEREOF, the undersigned, being duly authorized by their respective govern-ments, have signed this Agreement.
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Done....................on the.............day of .......... 2014.... ........., in duplicate, in the English, French and Hindi languages, each version being equally authentic.
For and on Behalf of the
Government of the republic of India
For the Government of
Canada
ANNEX
This Annex is for administrative purposes and is not part of the Audiovisual Co-produc-tion Agreement between the Government of the Republic of India and the Government ofCanada (the “Agreement”).
1. DEFINITIONS
Unless otherwise specifi ed, the defi nitions of the Agreement apply. For the purposes of this Annex: “dubbing” means the production of any version in a language other than the original language or languages of the work.
2. FINANCIAL CONTRIBUTION BY
PRODUCERS
(a) The fi nancial contribution of the producers of each Party will be decided by arrange-ment between the producers, and will be between 20 per cent and 80 per cent of the total production budget of the work.
(b) The third-country producer(s) involved in a multi-party work will contribute a mini-mum of 10 percent of the total production budget of that work.
3. CREATIVE AND TECHNICAL
CONTRIBUTION BY PRODUCERS
(a) The creative and technical contribution of the producers will be in reasonable propor-tion to their respective fi nancial contribu-tion, and in accordance with the require-ments of the respective Parties.
(b) The creative and technical contribution of each thirdcountry producer involved in the work will be in reasonable proportion to their respective fi nancial contribution.
(c) The Parties, through their administrative may by mutual consent in writing exemp-tions from paragraphs (a) and (b), storyline and creative purposes. authorities, recom-mend notably for
4. LOCATION AND TECHNICAL
SERVICES
(a) Subject to paragraph (b), a work will be shot in the territory of either Party and may also be shot in the territory of a third-country producer.
(b) The administrative authorities may, by mu-tual consent in writing, allow a work to be shot in the territory of a third country or a non-country for a storyline and/or creative reasons.
(c) All or part of the technical services of a work will be provided in the territory of either Party or in the territory of a third-country producer.
5. DUBBING
(a) Subject to paragraph (b), all dubbing ser-vices will be performed in the territory of one of the Parties or of a third-country pro-ducer.
(b) Where a producer can reasonably demon-strate that the necessary capacity does not exist in the territory of either Party or of a third-country producer, the administrative authorities may by mutual consent allow the dubbing to be performed elsewhere.
6. MODIFICATION
The provisions of this Annex may be modifi ed by mutual consent in writing of the competent authorities provided that these modifi cations do not confl ict with the Agreement.
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The MINISTRY OF INFORMATION AND BROADCASTING OF THE REPUBLIC OF IN-DIA and the STATE ADMINISTRATION OF PRESS, PUBLICATION, RADIO, FILM AND TELEVISION OF THE PEOPLE’S REPUBLIC OF CHINA hereinafter referred to as the “Contracting Parties”,
CONSIDERING that it is desirable to estab-lish a framework for the development of their audio visual co-productions;
CONSCIOUS that quality co-productions can contribute to the further expansion of the audio visual production and distribution of both countries as well as to the development of their cultural and economic exchanges;
CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries in the audio visual fi eld;
HAVE AGREED AS FOLLOWS:
ARTICLE 1 Defi nition
For the purpose of this Agreement:1.1 “Co- Production” refers to feature fi lm,
documentary, cine-fi lm or animation fi lm, irrespective of length, produced in any format, and distributed in theatres, on televisions, video cassettes or any other forms of projection.
1.2 “Co-production” is a production co-pro-duced after joint investment by producers from India and China.
1.3 “Competent Authority” responsible for implementation of the Agreement shall be -
On behalf of Republic of India, a. the Ministry of Information and Broadcasting
On behalf of Government of the b. People’s Republic of China, the State Administration of Press, Publication, Radio, Film and Television.
Co-production projects falling within c. the scope of this Agreement shall be subject to the approval of the Competent Authority.
Each co production undertaken under d. this Agreement shall be in accordance
CHINAAUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN
THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE
PEOPLE’S REPUBLIC OF CHINA.
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with the laws and regulations in force in the Contracting Parties.
1.4 “Co-producer” shall be: In relation to India: a.
Citizens of India; (i)
Entities which are established or (ii) incorporated in India
In relation to China:b.
Citizens and legal persons of (i) China;
Persons who are not citizens (ii) of China but are permanent residents of China;
Entities which are established or (iii) incorporated in China.
1.5 “Nationals” mean persons of either Contracting Party deriving the status as nationals of that Contracting Party from its laws and regulations in force.
ARTICLE 2 Recognition as a National Film
and Entitlement to Benefi ts
2.1 A co-production fi lm shall be fully entitled to all the benefi ts which are or may be accorded to national fi lms by each of the Parties under their respective national laws and regulations.
2.2 These fi lms shall be entitled to claim all state support and benefi ts available to the fi lm and video industries and the privi-leges granted by the provisions in force in the respective countries
ARTICLE 3 Contribution
3.1 Any benefi ts under this Agreement shall be available for audio visual co-production only when investment or fi nance, mate-rial and management including creative and other inputs not below 20% comes from co-producer of one country; provided always that specifi c percentage contribu-tion will be decided amongst producers themselves.
3.2 Notwithstanding anything stated in above paragraph, the competent authorities of both sides may at any time decide jointly
in writing to make appropriate changes, in percentage, as may be deemed fi t.
ARTICLE 4 Participants
4.1 The producers, writers, directors, techni-cians, actors and other personnel involved in co-productions shall be citizens of either of the countries or permanent resi-dents of either party.
4.2 In the event of exceptional need of audio visual co-production, persons other than nationals or permanent residents as stated hereinabove are permissible to be engaged without losing the character of co-production in case advance writ-ten permission from both the countries’ authorities is obtained after explaining the reasons of inclusion of such person.
ARTICLE 5 Filming and Production
Outside the Contracting Countries
5.1 Live action shooting of a co-produced fi lm, including animation works such as story-boards, layout, key animation, in between and voice recording must, in principle, be carried out alternately in India or in China.
5.2 Location shooting of a co-produced fi lm, exterior or interior, in a country not partici-pating in the co-production may, however, be authorized by the competent authori-ties of both countries if the script or the action so requires and if technicians from India and China take part in the shooting.
5.3 The processing and post-production of co-productions shall be done in either India or China, unless it is technically impos-sible to do so in either of the countries, in which case the processing and post-production in a country not participating in the co-production may be authorized by the competent authorities of both coun-tries.
ARTICLE 6 Film Languages
6.1 The original soundtrack of each audio vi-sual co-production shall be made in Hindi, or any other Indian language or dialect, or in Chinese or English, or in any combina-
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tion of those permitted languages.
6.2 Dialogue in other languages may be included in the audio visual co-production, as the script requires.
6.3 The dubbing or subtitling into one of the permitted languages of India or into the language of China shall be carried out in India, or in China; and that in English language be discussed and decided by the co-producers.
ARTICLE 7 Film Negatives
Two negatives, or at least one negative and one duplicate negative, shall be made of all co-produced fi lms. Each co-producer shall be entitled to make a further duplicate or prints there from. Each co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the co-producers themselves. The storage of the original negative shall be as mutually decided by the co-producers.
ARTICLE 8 Temporary Entry into the
Country
Both Contracting Parties in accordance with their domestic laws shall facilitate:
(a) entry and short stay in either of the two countries for producers, writers, directors, technicians, actors and other personnel,
(b) importing of equipment, props, fi lm stocks and the like.
ARTICLE 9 Property and Revenues
9.1 Both Contracting Parties jointly own the copyrights of each co-produced fi lm and at the same time it is proportionate to the respective contributions for co-producers to share market revenues.
9.2 The sharing of revenues by the co-produc-ers should, in principle, be proportional to their respective contributions and this should be negotiated and agreed, and specifi ed in the agreement between the co-producers themselves. The respective contribution of each co-producer may be decided mutually on the basis of prin-ciples elaborated in Article 3.
ARTICLE 10 Balanced Contribution
10.1 A general balance should be maintained with regard to both the artistic and tech-nical personnel, including the cast.
10.2 The Joint Commission, established in terms of this Agreement, shall carry out a review to see whether this balance has been maintained and, if this is not the case, shall take measures which it con-siders necessary in order to re-establish such a balance.
ARTICLE 11 Joint Commission
11.1 The Joint Commission shall comprise representatives from Governments of both countries and from the fi lm indus-try of both Contracting Parties.
11.2 The role of the Joint Commission shall be to supervise and review the implementation and operation of this Agreement and to make any proposals considered necessary to improve the implementation of the Agreement.
11.3 The Joint Commission shall be con-vened at the request of either of the Contracting Parties within six months of such a request.
ARTICLE 12 Minority and Majority
Contribution in the Case of Multilateral
Audio visual Co-productions
Subject to the specifi c conditions and limits laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral co-productions, the minority contribution may not be less than 10% and the majority contribution may not exceed 70% of the total cost of the fi lm.
ARTICLE 13 Public Exhibition
13.1 Nothing in this Agreement binds the competent authorities of the Contracting Parties to permit the public exhibition of a fi lm, which has been granted Approved Co-production status.
13.2 Both co-producers shall shoot the fi lm in ac-cordance with the approved script and sub-mit it to respective competent authorities for
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examination afterwards. If there is no any essential difference between the completed fi lm and the approved script, the fi lm could be exhibited in India, China or a third country, in accordance with the current laws, rules, regulations and guidelines, governing the same in the respective countries.
ARTICLE 14 Export to a Third Country
When a co-produced fi lm is exported to a country, which has quota limitations:
a) In principle, the co-produced fi lm shall be included in the quota of the country of the majority investment;
b) If both co-producers have made an equal contribution, co-producers of both sides shall decide the quota in question through friendly consultation, so that the co-produced fi lm can be included in the quota of the country that can make better arrangements for the export of the fi lm.
c) If diffi culties still exist, the co-produced fi lm shall be included in the quota of the country of which the director is a national.
ARTICLE 15 Credits
15.1 A co-produced fi lm shall when shown, be identifi ed as a “India-China Audio -visual Co-production” or “China-India Audio-visual Co-production” according to the origin of the majority co-producer or in accordance with an agreement between co-producers.
15.2 Such identifi cation shall appear in the credits, in all commercial advertising and promotional materials and when-ever this co-production is shown.
ARTICLE 16 Entry in International
Film Festivals
16.1 In the event of presentation at interna-tional fi lm festival, unless the co-pro-ducers agree otherwise, a co-production shall be entered by the country of the majority co-producer or, in the event of equal fi nancial participation of the co-producers, by the country of which the director is a national.
16.2 Either of the co-producers may make the co-produced fi lm access to inter-national fi lm festivals by notifying the other co-producer in advance.
ARTICLE 17 Settlement of Disputes
Any dispute between the Contracting Parties arising out of the interpretation and imple-mentation or application of this Agreement shall be settled consensually through consultation and negotiation and shall not be referred for resolution to any national or International tribunal or a third party.
Article 18 Amendment
This Agreement may be amended at any time by the mutual consent of the Contract-ing Parties through the exchange of notes between the Contracting Parties through the diplomatic channel.
ARTICLE 19 Entry into Force, Duration and
Termination of the Agreement
19.1 This Agreement shall come into force when each Party has informed the other that its internal ratifi cation procedures have been completed. This Agreement shall come into effect on the later date of these two notifi cations.
19.2 This Agreement shall be valid for a period of three years from the date of its entry into force; a tacit renewal of this Agreement for the periods shall take place unless one or the other Party gives written notice of termination six months before the expiry date.
19.3 Co-productions which have been rec-ognized by the competent authorities of the Contracting Parties and which are in progress at the time of notice of termination of this Agreement by either Contracting Party shall continue to benefi t fully until completion from the provisions of this Agreement. After expiry or termination of this Agreement, its terms shall continue to apply to the division of revenues from completed co-productions.
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In witness whereof the undersigned, duly authorised by their respective Governments, have signed this Agreement.
Done in at New Delhi on September 18 of 2014 in two originals each in Chinese, Hindi, and Eng-lish language, three versions being equally authentic. In case of any divergence in interpreta-tion, the English text shall prevail.
FOR THE MINISTRY OF INFORMATION AND BROADCASTING OF THE REPUBLIC OF INDIA
FOR THE STATE ADMINISTRATION OF PRESS, PUBLICATION, RADIO, FILM AND TELEVISION OF THE PEOPLE’S REPUBLIC
OF CHINA
SIGNATURE SIGNATURE
Annex
Annex to Agreement On Audio Visual Co-production Between the State Administration of Press, Publication, Radio, Film and Televi-sion of the People’s Republic of China and the Ministry of Information and Broadcasting of the Republic of India (Rules of Procedure for Applications for Approval of Co-production Status Under This Agreement)
(This Annex is for administrative purposes and is not part of the Audio -visual Co Pro-duction Agreement between the the State Administration of Press, Publication, Radio, Film and Television of the People’s Republic of China and the Ministry of Information and Broadcasting of the Republic of India.)
1. Applications for qualifi cation of a fi lm for audio visual co-production benefi ts under this Agreement for any co-production must be made simultaneously to both competent authorities at least sixty days before shooting begins.
2. Co-Producers from both Contracting Par-ties shall submit the proposals to their competent authorities respectively for approval. Both competent authorities shall, in accordance with relevant guidelines of the respective country, communicate and negotiate with each other within thirty days of the submission of the complete documentation about the approval of Co-production status.
3. The following documents shall be submitted:3.1 The fi nal script and synopsis;3.2 Documentary proof of having legally
acquired the rights to produce and exploit the co-production and that the copyright for the audio-visual co-pro-duction has been legally acquired;
3.3 A copy of the co-production contract signed by the two co-producers.
The contract shall include:
a. The title of the audio-visual co-production;
b. The name of the author of the script, or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a fi lm from the author/legal heirs may be attached;
c. The name of the director;
d. The budget;
e. The fi nancing plan;
f. A clause establishing the sharing of revenues and markets;
g. A clause detailing the respective shares of the co-producers in any over or under expenditure, which shares shall in principle be proportional to their respective contributions;
h. A clause stating that the competent authorities have to be informed if the
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percentage of the contribution of a co-producer changes subsequent to the approval of the competent authorities; in any case, the contribution may not be less than the minimum contribution agreed in Article 3;
i) A clause stating that audio visual productions co-produced under this Agreement may be publicly exhibited in either country in accordance with prescribed rules/procedures;
j) A clause recognising that admission to benefi ts under this Agreement does not constitute a commitment that competent authorities in either country will grant a license to permit public exhibition of the audio visual co-production;
k) A clause prescribing the measures to be taken where:
(i) after full consideration of the case, the competent authorities in either country refuse to grant the benefi ts applied for;
(ii) the competent authorities prohibit the exhibition of the audio visual co-production in either country or its export to a third country;
(iii) either one or the other Party fails to fulfi ll its commitments;
l) the period when shooting is to begin;
m) a clause stipulating that the majority co-producer shall take out an insur-ance policy as mutually decided by the co-producers; and
n) a clause providing for the joint owner-ship of copyright for co-producers and at the same time it is proportionate
to the respective contributions for co-producers to share market revenues.
3.4 The distribution contract, where it has already been signed;
3.5 A list of the creative and technical personnel indicating their nationali-ties and, in the case of performers, the roles they are to play;
3.6 The production schedule;
3.7 The detailed budget identifying the expenses to be incurred by each co-producer in each country; and
3.8 All contracts and other relevant fi nan-cial documentation for all participants in the fi nancial structure.
4. The competent authorities can demand any further documents and all other ad-ditional information deemed necessary, as to consider the co-production application.
5. In principle, the fi nal shooting script (in-cluding the dialogue) should be submitted together with all other necessary docu-ments to the competent authorities prior to the commencement of shooting for fi nal approval.
6. Amendments, including the replacement of a co-producer, may be made in the origi-nal contract, but they must be submitted for approval by the competent authorities before the audio visual co-production is fi nished. The replacement of a co-producer may be allowed only in exceptional cases and for reasons satisfactory to both the competent authorities.
7. The competent authorities will keep each other informed of their respective deci-sions.
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The Government of the Republic of India and the Government of the French Republic (hereinafter referred to as ‘the Parties’),
CONSIDERING the Convention on the Protection and Promotion of the Diversity of Cultural Expressions and its ratifi cation by India on 15th December, 2006 and by France on 18th December, 2006,DESIRING to strengthen the relationship between India and France concerning fi lm production,HAVE AGREED AS FOLLOWS:
Article 1
For the purpose of this Agreement:‘Film’ means feature length fi lm a. including animation and documentary fi lm which complies with the laws and rules in force in each country and which is intended to be fi rst shown in cinema theatres. Both the Parties would under this Agreement also encourage the development of Co-Production projects for short fi lms for which there is an
expectation for public exhibition, with or without access to Public support;
“Competent Authority” means:b.
For India, the Ministry for Information and Broadcasting;For France, the Centre national du cinema et de l’image animée (CNC).
The Parties shall inform each other if the competent authorities are replaced by others.
Article 2
Subject to the approval of both competent 1. authorities, a fi lm Co-produced in compliance with this Agreement shall be deemed to be a national fi lm in the territory of each Party and shall thus be fully entitled to all the benefi ts which are granted under the laws and regulations in force in the territory of each Party.
The competent authority of each Party 2. shall provide to the competent authority of the other Party a list of provisions concerning these benefi ts.
FRANCEAGREEMENT ON FILM CO-PRODUCTION BETWEEN THE
GOVERNMENT OF THE REPUBLIC OF INDIA AND THE
GOVERNMENT OF THE FRENCH REPUBLIC.
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If the provisions concerning these benefi ts are changed in any way by either Party, the competent authority of that Party shall inform the competent authority of the other Party of the details of such change.The above mentioned benefi ts shall accrue 3. solely to the producer of the Party which grants them.
In order to be approved as a Co-Production 4. under this Agreement, the fi lm must:
- in France, apply for Co-Production clearance before the shooting starts, and receive fi nal approval from the competent authority no later than 4 (four) months after its release in France;
- in India, apply for Co-Production clearance before the shooting starts, and receive fi nal approval from the competent authority no later than 4 (four) months after its completion in India.
The application for such approval shall comply with the procedures set forth by each Party and satisfy the minimum requirements set forth in Annexure to this Agreement.The competent authorities of the Parties shall exchange all information concerning the approval, rejection, change or withdrawal of any application received for approval for Co-Production.Before an application for approval is rejected, the competent authorities of the Parties shall consult with each other.Once the competent authorities of the Parties have approved the Co-Production of a fi lm, such approval may not be later revoked without the consent of competent authorities of the Parties.The approval of Co-Production by the competent authorities of the Parties shall not be related in any way to the fi lm rating systems of either Party.
Article 3
In order to qualify for the approval for 1. Co-Production, the producer shall have the necessary capabilities to produce the concerned fi lm. The Parties are not
responsible or liable for the credentials of either of the Co-producers.
Each of the producers must satisfy the 2. following additional conditions:
The president(s), director(s) or a. manager(s), must be citizen of India, France or the European Union. Persons who do not have the citizenship of the aforesaid countries but can demonstrate their domicile or permanent residence therein will be deemed to be citizens of India or France within the meaning of this subparagraph.
The producer must not be controlled b. legally or effectively by one or more citizens of any country other than India, France or the EU countries.
Artistic and technical participants in the 3. production of the fi lm shall be citizens of India, France or the EU countries. Participants who do not have the citizenship of the aforesaid countries but can demonstrate their domicile or permanent residence therein will be deemed to be citizens of India or France within the meaning of this subparagraph.
Actors who do not have the aforesaid citizenship may participate in a Co-Production in the event that the competent authorities of the Parties so approve, after consideration of the production needs of the fi lm.
Article 4
Studio fi lming, location shooting (exterior or interior) and laboratory work shall in principle be carried out in the territory of either Party. Outdoor shooting in third countries may be permitted, subject to the consent of the competent authorities of the Parties, provided that it is necessary for the scenario or the acting.
Article 5
The proportion of the respective fi nancial 1. contributions of the Co-producers of each party to the production of the fi lm shall be decided by arrangement between the
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Co-producers, and shall be between 20% (twenty percent) to 80%(eighty percent) of the fi nal production costs of the fi lm. Notwithstanding the above, in exceptional circumstances and subject to the approval of the competent authorities of both Parties, the 20% threshold may be reduced to 10% taking into account the artistic and technical collaborations of the Co-producer(s) of each party.
In principle, the technical and artistic 2. contribution of the Co-producer of each Party shall be in the same proportion as its fi nancial contribution under normal circumstances. However, in exceptional cases where the approval of the competent authorities of both parties has been obtained, these percentages shall be between 10% and 90 %.
Article 6
All producers 1. shall be the joint owners of all the tangible and intangible elements of the fi lm.
All materials shall be stored at a mutually 2. approved laboratory under the joint name of the producers.
Article 7
For Co-Productions approved under this Agreement, each Party shall facilitate, in accordance with the domestic law in force in its territory:
the entry and temporary residence a. in its territory for the technical and artistic personnel of the other Party who participate in the production of the fi lm;
the import into, and export out of b. its territory of technical equipment and other material necessary to the coproduction (including fi lm, technical equipment, costumes, accessories, publicity material) by the Co-producer of the other Party.
Article 8
Credit titles, trailers and all publicity 1. material of the fi lm Co-Productions shall
state that the fi lm is a Co-Production between India and France.
For the purpose of entry into different a. fi lm festivals, the Co-producers shall decide mutually.
The fact that a fi lm is a Co-Production b. shall also be mentioned when it is submitted to a fi lm festival.
Article 9
The sharing of revenues by the Co-producers should, in principle, be in proportion to their respective contributions and this should be specifi ed in the agreement itself. The respective contribution of each Co-producer may be decided mutually on the basis of principles elaborated in Article 5.
Article 10
The competent authoritie1. s of both the Parties acknowledge that a fi lm Co-produced in compliance with this Agreement may also be approved for Co-Production with the producers of a third country with which either Party has entered into a fi lm Co-Production treaty.
The conditions of approval of such fi lm as a 2. Co-Production shall be determined in each individual case by competent authorities.
Article 11
A joint com1. mission (hereinafter referred to as the ‘Joint Commission’) consisting of representatives of the competent authorities of both Parties and experts in related fi elds shall be established for the purpose of facilitating the implementation of this Agreement or recommending amendments thereto.
During the effective period of this 2. Agreement, the Joint Commission shall be convened in principle every 2-3 years, alternately in India and France. Extraordinary sessions of the Joint Commission may also be convened at the request of either Party in the event of changes in the laws and regulations applicable to the fi lm industry or major obstacles (in particular, imbalance in
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contribution) to the functioning of this Agreement.
During its meeting sessions, the Joint 3. Commission shall review whether an overall balance has been achieved in the contributions from the two Parties and shall implement the necessary measures in order to correct any imbalance.
If an imbalance in contributions has 4. occurred and a session of the Joint Commission is not convened expeditiously in order to review the measures to restore balance, both competent authorities shall abide by the principle of reciprocity for each fi lm in approving Co-Productions.
Article 12
This Agreement may be amended by the mutual consent of the Parties through the exchange of notes between the Parties through the diplomatic channel.
Article 13
Any dispute between the Parties arising out of the interpretation or implementation of
this Agreement shall be settled consensually through consultation and negotiation and shall not be referred for resolution to any national or international tribunal or a third party.
Article 14
This Agreement shall come into force after 1. each Party has informed the other Party through offi cial diplomatic channels that its internal ratifi cation procedures have been completed.
This Agreement shall remain in force 2. initially for a period of 2 (two) years from the date of its entry into force, and then shall be automatically renewed for successive periods of 2 years, unless written notice is otherwise given by either Party to the other Party at least 3 (three) months before the expiry of the relevant period.
Unless both Parties decide otherwise, 3. the termination of this Agreement shall not affect the rights and duties of the Parties in relation to fi lm Co-Productions already approved in accordance with this Agreement.
In witness whereof, the undersigned being duly authorized thereto, have signed this Agreement.
Done at ____________, on this day of _____________, in two originals each in English, French and Hindi, all versions being equally valid.
For Government of
Republic of INDIA
For the Government of
FRENCH Republic
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Annexure to the Co-Production Agreement
Application Process
In order to implement the provisions of this Agreement, the producers established in both countries must, before shooting commences, submit an application for coproduction status and attach the documents listed below:
a copy of the documentation concerning -the purchase of the copyright for the commercial exploitation of the work ;
a synopsis including concrete information -on the theme and contents of the fi lm ;
a list of the technical and artistic -contributions from each of the countries involved ;
a work plan stating the periods and -locations of principal photography on a weekly basis for studio and outdoor shooting ;
a budget including a detailed fi nancing -plan ;
a production schedule -
the coproduction contract made between -the producers ;
and all the documentation that the -competent authorities require to conduct the technical and fi nancial evaluation of the project.
The competent authority of the party with smaller contribution shall decide on approval after it has received the opinion of the competent authority of the party with greater fi nancial contribution.
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GERMANYAGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC
OF INDIA AND THE GOVERNMENT OF THE FEDERAL
REPUBLIC OF GERMANY ON AUDIO VISUAL CO-PRODUCTION.
The Government of the Republic of India and the Federal Republic of Germany (hereinafter jointly referred to as the “Contracting Parties”); Considering that audio-visual Co-Productions can signifi cantly contribute to the development of the fi lm industry and to an intensifi cation of the cultural and economic exchange between the two countries; Resolved to stimulate cultural and economic co-operation between the Republic of India and the Federal Republic of Germany; Desiring to create conditions for good relations in the audio-visual area, particularly for the Co-Production of fi lms and TV and video productions; Mindful of the fact that the quality of Co-Productions can help to expand the production of TV and video productions of both countries;Have agreed as follows
ARTICLE 1
Defi nition of “audio-visual Co-Production” For the purpose of this Agreement, an “audiovisual Co-Production” is a project irrespective of length, including animation and documentary productions, produced in any format, for exploitation in theatres, on television, videocassette, videodisc, CD-ROM, DVD or by any other form of distribution. New forms of audiovisual production will be included in this Agreement, through the exchange of notes between the Contracting Parties.
ARTICLE 2
Competent authoritiesThe competent authorities responsible 1. for the implementation of this Agreement shall be:
On behalf of the Republic of India , the a. Ministry of Information and;
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Broadcasting on behalf of the Federal b. Republic of Germany, the Federal Offi ce of Economics and Export Control (BAFA).
Co-Productions falling within the scope c. of this Agreement shall be subject to the approval of the competent authorities.
The Contracting Parties shall inform each 2. other if the competent authorities are replaced by others.
ARTICLE 3
Approval as national fi lmsFilms, which are produced within the 1. framework of this Agreement, shall be deemed national fi lms.
These fi lms shall be entitled to claim all 2. state support benefi ts available to the fi lm and video industries and the privileges granted by the provisions in force in the respective countries.
ARTICLE 43.
Conditions for obtaining approval of Co-
Production status
Any benefi ts under this Agreement shall 1.
be available for the Co-Production only
when investment of fi nance, material and
management including creative and other
inputs is not below 20 % (twenty percent)
of the total cost coming from the Co-
producer of one country.
The Co-producers of a fi lm shall have their 2.
principal offi ce or a branch offi ce in the
territory of one of the Contracting Parties.
None of the Co-producers shall be linked
by common management, ownership or
control.
Technical and artistic personnel are those 3.
persons who, in accordance with the
domestic law in force in their own country,
are recognized as makers of audio-visual
productions, in particular screenwriters,
directors, composers, editors, directors
of photography, art directors, actors and
sound technicians. The contribution of
each of these persons shall be evaluated
individually.
As a rule, the contribution includes at least 4.
one leading actor, one supporting actor
and/or one qualifi ed technical staff person,
in addition to the one person as referred to
in paragraph (3) provided that two qualifi ed
technical staff persons may substitute for
one leading actor.
The Co-producers in either of the two 5.
countries shall satisfy themselves about
each other’s capability, including their
professional knowledge, organizational
capability, fi nancial backing and
professional reputation. The Contracting
Parties are not responsible or liable for the
credentials of either of the Co-producers.
The company carrying out the Co-6.
Production shall provide evidence that
the primary business of that company
is audiovisual (fi lm, television and video)
production.
ARTICLE 5
Participants
The persons participating in the production 1.
of a fi lm shall fulfi ll the following
requirements:
As regards the Republic of India , they a.
shall be –
Nationals/Citizens of the Republic (i)
of India or
Permanent residents of India(i)
As regards the Federal Republic of b.
Germany, they shall be
Germans within the meaning of (i)
the Basic Law
Persons who are rooted in the (ii)
German culture and have their
legal residence in the territory of
the Federal Republic of Germany;
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Nationals of a member state of (iii)
the European Union; or
Nationals of another party to (iv)
the Agreement on the European
Economic Area (EEA) of 2 May
1992.
Participants in the Co-Production as 2.
defi ned in sub paragraphs (a) and (b) must
at all times throughout the production
retain their national status, and may not
acquire or lose such status at any point
during the course of production activity.
Should the fi lm so require, the participation 3.
of professionals who are not citizens of
one of the Co-producing countries may
be permitted, but only in exceptional
circumstances, and subject to agreement
between the competent authorities of both
Contracting Parties.
ARTICLE 6
Film Negatives and Languages
Two negatives, or at least one negative and 1.
one duplicate negative, shall be made of all
Co-produced fi lms. Each Co-producer shall
be entitled to make a further duplicate
or prints there from. Each Co-producer
shall also be entitled to use the original
negative in accordance with the conditions
agreed upon between the Co-producers
themselves.
The original soundtrack of each Co-2.
Production fi lm shall be made in Hindi or
any other Indian language or dialect or, in
English or German or in any combination
of those permitted languages. Dialogue in
other languages may be included in the
Co-Production, as the script requires.
The dubbing or subtitling into one of the 3.
permitted languages of the Republic of
India or into German shall be carried out
in the Republic of India , or in the Federal
Republic of Germany or in another Member
State of the European Union or in another
Contracting State of the Agreement on
the European Economic Area respectively.
Any departure from this principle must be
approved by the competent authorities.
ARTICLE 7
Entry in International Festivals
The majority Co-producer shall normally 1.
enter Co-produced fi lms in international
festivals.
Films produced on the basis of equal 2.
contributions shall be entered as a fi lm
of the country of which the director is a
national, provided that the director is not
from a country contemplated in Article
5(1) (a) (iv), in which case the fi lm shall be
submitted as a fi lm of the country of which
the lead actor is a national, subject to the
agreement of the competent authorities of
both Contracting Parties.
ARTICLE 8
Minority and majority contribution in the case
of multilateral Co-Productions
Subject to the specifi c conditions and limits
laid down in laws and regulations in force in the
Contracting Parties, in the case of multilateral
Co-Productions, the minority contribution may
not be less than 10% (ten per cent) and the
majority contribution may not exceed 70%
(seventy per cent) of the total cost of the fi lm.
ARTICLE 9
Contributions of the producers
Notwithstanding the provisions of this 1.
Agreement and in the interest of bilateral
Co-Productions, even those fi lms, which
are produced in one of the two countries
and where the minority contribution is
limited to fi nancial investment, may be
granted Co-Production status according
to the Co-Production agreement. In such
a case, the minority contribution may not
be less than 20% (twenty per cent) of the
fi nal total cost of the fi lm.
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The granting of Co-Production status to 1.
each individual production of this kind
shall be subject to the prior approval by
the competent authorities.
The expenses incurred in the territories of 2.
the Contracting Parties for the promotion of
such Co-Productions shall be compensated
within two years of the completion of the
project.
ARTICLE 10
Balanced contribution
A general balance should be maintained 1.
with regard to both the artistic and
technical personnel, including the cast, and with regard to the fi nancial investment and facilities (studios, laboratories, and postproduction).
The Joint Commission, established in 2.
terms of article 12, shall carry out a review
to see whether this balance has been
maintained and, if this is not the case,
shall take measures, which it considers
necessary in order to re-establish such a
balance.
ARTICLE 11
Credits
A Co-Production fi lm and the promotional
materials associated with it shall include
either a credit title indicating that the fi lm is
“an offi cial German-Indian Co-Production”
or “an offi cial Indian German Co-Production”
or where relevant a credit which refl ects
the participation of the Federal Republic of
Germany, Republic of India and the country of
the third co producer.
ARTICLE 12
Joint Commission
The Joint Commission shall be composed 1.
of representatives from Government
and from the fi lm, television and video
industries of both Contracting Parties.
The role of the Joint Commission shall be 2.
to supervise and review the implementation
and operation of this Agreement and to
make any proposals considered necessary
to improve the implementation of the
Agreement.
The Joint Commission shall be convened, 3.
whether by meeting or otherwise, at the
request of either of the Contracting Parties
within six months of such a request.
ARTICLE 13
Temporary Entry into the countryFor approved Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country:
Entry into and temporary residence in a. its territory for technical and artistic personnel of the other Contracting Party;
The import into and export from b. its territory of technical and other fi lmmaking equipment and materials by producers of the other Contracting Party.
ARTICLE 14
AmendmentThis Agreement may be amended by the mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through the diplomatic channel.
ARTICLE 15
Settlement of DisputesAny dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation.
ARTICLE 16
Entry into Force, Duration and Termination
This Agreement shall enter into force on 1.
the date of signature.
This Agreement including the annex, which 2.
forms an integral part of this agreement,
shall remain in force for an unlimited
period of time, unless terminated in terms
of paragraph.
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Either Contracting Party may terminate 3.
this Agreement by giving six months’
written notice in advance of such intention
to the other Contracting Party through the
diplomatic channel.
Termination of this Agreement shall have no 4.
effect on the completion of Co-Productions
approved prior to its termination.
Done at Berlinon this day of 16th of February
2007 in two originals each in English, German
and Hindi, all three versions being authentic.
In case of any divergence of interpretation, the
English text shall prevail.
(Rules Of Procedure for applications for
approval of Co-Production status under this
agreement)
Applications for qualifi cation of a fi lm 1.
for Co-Production benefi ts under this
Agreement for any Co-Production must be
made simultaneously to both competent
authorities at least thirty (30) days before
shooting begins.
The competent authority of both Parties 2.
shall communicate their proposal to the
other competent authority within twenty
(20) days of the submission of the complete
documentation as described in paragraph
3 below.
Documentation submitted in support of an 3.
application shall consist of the following
items, drafted in German in the case of
Germany and in English in the case of
India :
3.1 The fi nal script and synopsis; Co-
Productions under this Agreement
shall be shot in Germany or India,
as the case may be, in accordance
with the guidelines of the respective
country; The Parties shall inform each
other from time to time of relevant
guidelines and any changes thereto.
3.2 documentary proof of having legally
acquired the rights to produce and
exploit the Co-Production and that the
copyright for the Co-Production has
been legally acquired;
3.3 a copy of the Co-Production contract
signed by the two Co-producers.
The contract shall include
The title of the Co-Production;a.
The name of the author of the script, or b.
that of the adaptor if it is drawn from a
literary source; necessary permission
for adapting the literary work into a
fi lm from the author/legal heirs may
be attached;
The name of the director (a substitution c.
clause is permitted to provide for his/
her replacement if necessary);
The budget;d.
The fi nancing plan;e.
A clause establishing the sharing f.
of revenues, markets, media or a
combination of these;
A clause detailing the respective g.
shares of the Co-producers in any over
or under expenditure, which shares
shall in principle be proportional to
their respective contributions, although
the minority Co-producer’s share in
any over expenditure may be limited
to a lower percentage or to a fi xed
amount providing that the minimum
proportion permitted under Article 9 of
the Agreement is respected;
A clause stating that the competent h.
authorities have to be informed if the
percentage of the contribution of a co-
producer changes subsequent to the
approval of the competent authorities;
in any case, the contribution may not
be less than the minimum contribution
agreed in
A clause stating that fi lms Co-i.
produced under this Agreement may
be publicly exhibited in either country
in accordance with prescribed rules/
procedures;
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A clause recognizing that admission j.
to benefi ts under this Agreement does
not constitute a commitment that
governmental authorities in either
country will grant a license to permit
public exhibition of the Co-Production;
A clause prescribing the measures to k.
be taken where:
After full consideration of the case, the l.
competent authorities in either country
refuse to grant the benefi ts applied
for;
The competent authorities prohibit m.
the exhibition of the Co-Production in
either country or its export to a third
country;
Either one or the other Party fails to n.
fulfi ll its commitments;
The period when shooting is to begin;o.
A clause stipulating that the majority p.
Co-producer shall take out an
insurance policy covering at least
“all production risks” and “all original
material production risks”; and
A clause providing for the sharing of q.
the ownership of copyright on a basis
that it is proportionate to the respective
contributions of the Co-producers.
3.4 the distribution contract, where it has
already been signed, or a draft if it has
yet to be concluded;
3.5 a list of the creative and technical
personnel indicating their nationalities
and, in the case of performers, the
roles they are to play;
3.6 the production schedule;
3.7 the detailed budget identifying the
expenses to be incurred by each
country; and
3.8 all contracts and other relevant
fi nancial documentation for all
participants in the fi nancial structure.
The competent authorities can demand any 4.
further documents and all other additional
information deemed necessary.
In principle, the fi nal shooting script 5.
(including the dialogue) should be
submitted to the competent authorities
prior to the commencement of shooting.
Amendments, including the replacement of 6.
a Co-producer, may be made in the original
contract, but they must be submitted for
approval by the competent authorities
before the Co-Production is fi nished. The
replacement of a Co-producer may be
allowed only in exceptional cases and for
reasons satisfactory to both the competent
authorities.
The competent authorities will keep 7.
each other informed of their respective
decisions.
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The Government of the Republic of india and the Government of Italian Republic, hereinafter referred to as the parties,CONSIDERING that it is desirable to establish a framework for the development of their audiovisual relations and particularly for fi lm television and video Co-Productions;CONSCIOUS that quality Co-Productions can contribute to the further expansion of the fi lm, television and video production and distribution industries of both countries as well as to the development of their cultural and economic exchanges;CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries;Have agreed as follows:
ARTICLE 1
In this Agreement, unless the Agreement otherwise requires:
A Co-Production is a fi lm including (i) feature fi lms, documentaries, science fi lms, animation fi lms and commercials, irrespective of length, either on fi lm, videotape
or videodisc, which can be shown in cinemas, on television or on video recorders jointly’ invested in and produced by producers from the two countries and made in accordance with the terms of recognition given by the competent authorities of India and Italy under this Agreement. New forms of audio-visual production and distribution shall be included in the present Agreement by exchange of notes between the Parties.
Co-Production projects (ii) undertaken under the present Agreement must be recognized by the following authorities, referred to hereinafter as the competent authorities:
In Italy- by the Ministry of Cultural a. Properties and Activities, Department of Entertainment and Sport, General Management of Cinema; and
In India by the Ministry of Information b. and Broadcasting.
ITALYAUDIO VISUAL CO-PRODUCTION AGREEMENT BETWEEN
THE REPUBLIC OF INDIA AND THE GOVERNMENT OF THE
ITALIAN REPUBLIC.
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Co production produced under (iii) the terms of this Agreement shall be taken in either of the two countries as National Production with every benefi t available as National Production but will abide by applicable national law for distribution and production. These benefi ts, however, accrue to the producer from the country, which grants them.
ARTICLE 2
The co- producers in either (i) of the two countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, fi nancial backing and professional reputation.
The Government of India and Italy (ii) shall in no way be responsible or liable with regard to satisfaction of either of the co producers.
ARTICLE 3
Any benefi ts under this Agreement (i) shall be available for co production only when investment of fi nance, material and management including creative and other inputs not below 20% of the total cost comes from Co-producer of one country provided always that specifi c percentage contribution will be decided amongst producers themselves.
Notwithstanding anything stated (ii) in above paragraph, the two parties may at any time decide jointly in writing to make appropriate changes, in percentage, as maybe deemed fi t.
ARTICLE 4
The producers of a Co-Production (i) shall be citizens or permanent resident either of Italy or India subject to any sort of compliance
of the obligations created by European Union Italy as a member.
In the event of dire need of Co-(ii) Production, persons other than citizen or permanent resident as stated hereinabove are permissible to be engaged without losing the character of Co-Production in case advance written permission from both the countries is obtained after explaining the reasons of inclusion of such person.
ARTICLE 5
Live action shooting and animation (i) works such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out alternatively in Italy or in India.
Location shooting, exterior (ii) or interior, in a country not participating in the Co-Production however, is acceptable at discretion if the script or the action so requires and if technicians from Italy and India take part in the shooting.
The laboratory work shall be done (iii) in either Italy or India, unless it is technically impossible to do so, in which case the laboratory work in a country not participating in the Co-Production can be permitted by the competent authorities of both countries.
ARTICLE 6
The Co-Production shall have the (i) original soundtracks in English or Italian or in other Indian language or dialect, which can further be dubbed in any of these languages.
In the event, if script so desires, (ii) any other language can be used for stray dialogues with permission from authorities
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It will be necessary that the (iii) dubbing or sub-titling of the Co-Production will be done or performed either in India or Italy. Dubbing or sub-titling in Indian languages should be performed in India and dubbing or sub-titling in Italian in Italy and dubbing or sub-titling in English could be performed in Italy or India depending upon the agreement between Co-producers.
ARTICLE 7
A Co-produced fi lm shall have (i) two negatives or one negative and one dupe negative, or as agreed between the two Co-producers, with two international sound tracks for making copies. Each Co-producer shall own one good quality print, one dupe positive and one international sound track and have the right to make copies. Moreover with the approval of the Co-producers either Co-producer may use the footage from the above-mentioned material for other purposes. Furthermore, each Co-producer shall have access to the original production material in accordance with the conditions agreed upon between the Co-producers.
ARTICLE 8
Both Italy and India will facilitate (i) entry and short stay in either of the two countries for directors, actors, producers, writers, technicians and other personnel prescribed in each co production contract as per the applicable laws and importing of equipment shall also be in accordance with the applicable laws.
ARTICLE 9
The sharing of revenues by he (i) co-produces shall, in principle, be
proportional to their respective contributions and be specifi es in the agreement between the co producers. The respective contribution of each Co-producer may be decided mutually on the basis of principles elaborated in Article 3.
ARTICLE 10
The minority investment Co-(i) producer shall pay any balance outstanding on his contribution to the majority investment Co-producer within sixty (60) days following delivery of all the materials required for the production of the version of the fi lm in the language of the minority country. The majority investment Co-producer will have the same obligations towards the minority investment Co-producer.
Failure to meet this requirement (ii) shall entail the loss of benefi t of the Co-Production. This requirement will invariably be refl ected in the contract drawn up between theCo-producers to enable projects to be recognized under this Agreement.
ARTICLE 11
Approval of a proposal for the (i) Co-Production of a fi lm by the competent authorities of both countries is in no way binding upon them in respect of the granting of permission to show the fi lm thus produced.
ARTICLE 12
When a Co-produced fi lm is (i) exported to a country, which has quota limitations:
in principle, the Co-produced fi lm shall a. be included in the quota of the country of the majority investment;
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if both Co-producers have made an b. equal investment, Co-producers of both sides shall decided the quota in question through mutual consultation, so that the Co-produced fi lm can be included in the quota of the country that can make better arrangements for the export of the fi lm;
if diffi culties still exist, the co produced c. fi lm shall be included in the quota of the country of which the director is a national
Notwithstanding the above, in the (ii) event that one of the Co-producing countries enjoys unrestricted entry of its fi lms into a country that has quota regulations, aCo-Production under this Agreement shall be entitled as any other national production of that country to unrestricted entry into the importing country if that country so agrees.
ARTICLE 13
A Co-Production shall when shown, (i) be identifi ed as an Italy-India Co- Production; or India-Italy Co-Production according to the origin of the majority Co-producer or in accordance with an agreement between Co-producers.
Such identifi cation shall appear (ii) in the credits, in all commercial advertising and promotional material and whenever the Co-Production is shown.
ARTICLE 14
In the event of presentation at (i) international fi lm festivals, and unless the Co-producers agree otherwise, a Co-Production shall be entered by the country of the majority investment Co-producer or, in the event of equal fi nancial participation of the Co-producers, by the country of which the director is a national.
Prizes, grants, incentives and (ii) other benefi ts awarded to the cinematographic or audiovisual works may be shared between the Co-producers, in accordance with what has been established in the Co-Production contract and in conformity with applicable laws in force.
All prizes which are not in cash (iii) form, such as honorable distinctions or trophies awarded by third countries, for cinematographic and audiovisual works produced according to the norms established by this agreement, shall be kept in trust by the majority Co-producer or according to terms established in the Co-Production contract/agreement.
ARTICLE 15
The competent authorities of both (i) countries shall jointly establish, through a subsequent exchange of notes the rules of procedure for Co-Productions, taking into account the laws and regulations in force in Italy and in India.
ARTICLE 16
No restrictions shall be placed (i) on the import, distribution and exhibition of Indian fi lm, television and video productions in Italy or that of Italian fi lm, television and video productions in India other than those contained in the legislation and regulations in force in each of the two countries, including in case of Italy the obligation deriving from the norms of the European Union insofar as the free circulation of goods among Italy and other European Union countries in concerned, will be respected.
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ARTICLE 17
Any difference or dispute (i) regarding the implementation of this Agreement shall be settled by mutual consultation and negotiation. This does not absolve the right of co producers who enter into various contracts to seek legal remedies- such remedies may include conciliation, mediation and arbitration.
The rights arising out of this (ii) Agreement will not be enforceable at the instance of third party (ies) who are not signatory to this Agreement.
An appropriate Joint Commission (iii) may look after the implementation of this Agreement. A meeting of the Joint Commission shall take place in principle once every two years alternately in the two countries. However, it may be convened for extraordinary sessions at the request of one or both authorities, particularly in the case of major amendments to the legislation or the regulations governing the fi lm television and video industries in one country or the other, or where the application of this Agreement present various diffi culties and shall submit to the Authorities in the two countries, for consideration, the necessary amendments in order to resolve any diffi culties arising from the application of this agreement as
well as t improve it in the best interest of both countries. The recommendations of the Joint Commission are not binding on the two Governments.
ARTICLE 18
The present Agreement shall (i) come into force when each Party has informed the other that its international ratifi cation procedures have been completed.
It shall be valid for a period of (ii) three (3) years from the date of its entry into force, a tacit renewal of the Agreement for like periods shall take place unless one or the other Party gives written notice of termination six (6) months before the expiry date.
Co-Productions which have been (iii) recognized by the authorities and which are in progress at the time of notice of termination of this Agreement by either Party shall continue to benefi t fully until completion from the provisions of this Agreement. After expiry or termination of this Agreement, its terms shall continue to apply to the division of revenues from completed Co-Productions.
DONE in three originals at Rome, (iv) this 13th Day of 2005, each in Italian, English and Hindi language, all versions being equally authentic. In case of any divergence in interpretation, the English text shall prevail.
In Witness Whereof, the undersigned, duly authorized thereto by their respective Governments, have signed this Agreement.
For the Government of theRepublic of INDIA
For the Government of ITALIAN Republic
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The Government of the Republic of India and the Government of New Zealand (‘the parties’)SEEKING to enhance cooperation between their two countries in the area of fi lm;DESIROUS of expanding and facilitating the Co-Production of fi lms which may be conducive to the fi lm industries of both countries and to the development of their cultural and economic exchanges;CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries;HAVE AGREED as follows:
ARTICLE 1
Defi nitionsFor the purposes of this Agreement
Competent authorities shall be:1.
on behalf of the Republic of India, the a. Ministry of Information and; and
On behalf of the Government of New b. Zealand - to be indicated -
“Co-producer” shall be:2.
as regards the Republic of India:a.
nationals/citizens of the Republic (i) of India;
permanent residents of India; and (ii)
entities which are established and/(iii) or incorporated in India.
as regards the New Zealand - to be b. indicated -
‘Film’ means an aggregate of images, or 3. of images and sounds, embodied in any material, irrespective of length, including animation and docu¬mentary productions, produced in any format, for exploitation in theatres, on tele¬vision, videocassette, videodisc, CD-ROM, DVD or by any other form of distri¬bution. New forms of audiovisual production will be included in this Agreement, through the exchange of notes between the Contracting Parties.
ARTICLE 2
Competent authorities The competent authorities responsible 1. for the implementation of this Agreement shall be as defi ned in Article 1.
NEW ZEALANDAGREEMENT ON AUDIO-VISUAL CO-PRODUCTIONS BETWEEN
THE GOVERNMENT OF NEW ZEALAND AND THE GOVERNMENT
OF THE REPUBLIC OF INDIA.
Th G t f th R bli f I di d ti l / iti f th R bli(i)
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Co-Productions falling within the scope 2. of this Agreement shall be subject to the approval of the competent authorities.
The Contracting Parties shall inform each 3. other if the competent authorities are replaced by others.
ARTICLE 3
Recognition as a National fi lm and Entitlement to Benefi tsViews to be indicated later.
ARTICLE 4
Conditions for obtaining approval of Co-Production status
Co-Production fi lms shall require, prior to 1. the commencement of shooting, approval by both the competent authorities. Approvals shall be in writing and shall specify the conditions upon which approval is granted.
In considering proposals for the making of 2. a Co-Production fi lm, both the competent authorities, shall with due regard to their respective policies and guidelines, apply the rules set out in the Annex to this Agreement.
The Co-producers of a fi lm shall have their 3. principal offi ce or a branch offi ce in the territory of one of the Contracting Parties. None of the Co-producers shall be linked by common management, ownership or control.
Technical and artistic personnel are those 4. persons who, in accordance with the domestic law in force in their own country, are recognized as makers of audio-visual productions, in particular screenwriters, directors, composers, editors, directors of photography, art directors, actors and sound technicians. The contribution of each of these persons shall be evaluated individually.
As a rule, the contribution includes at least 5. one leading actor, one supporting actor and/or one qualifi ed technical staff person, in addition to the one person as referred to in paragraph (4) provided that two qualifi ed
technical staff persons may substitute for one leading actor.
The Co-producers in either of the two 6. countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, fi nancial backing and professional reputation. The Contracting Parties are not responsible or liable for the credentials of either of the Co-producers.
The company carrying out the Co-7. Production shall provide evidence that the primary business of that company is audiovisual (fi lm, television and video) production.
The sharing of expenses and revenues 8. shall be as mutually decided by the Co Producers.
ARTICLE 5
ContributionsAny benefi ts under this Agreement shall 1. be available for the Co-Production only when investment of fi nance, material and management including creative and other inputs is not below 20 % (twenty percent) of the total cost coming from the Co-producer of one country. The proportion of the respective contribution of the co producers of the Parties may vary from 20% (twenty percent) to 80% (eighty percent).
Subject to prior approval and in exceptional 2. cases both Competent Authorities may approve Audiovisual Co-Productions where:
the contribution by one Co-producer is a. limited to the provision of fi nance only, in which case the proposed fi nance-only contribution shall be 50% (Fifty per cent) or more of the total budget of the Audiovisual Co-Production; or
Despite falling outside the contribution b. rules, the Competent Authorities consider that the project would further the objectives of this Agreement and should be approved accordingly.
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Both the fi nancial contribution, and the 3. performing, technical, craft and creative participation of each Co-producer shall account for at least 20% (twenty per cent) of the total effort in making the Co-Production fi lm.
ARTICLE 6
Minority and majority contribution in the case of multilateral Co-Productions
Subject to the specifi c conditions and limits 1. laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral Co-Productions, the minority contribution may not be less than 10% (ten per cent) and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the fi lm.
Both Competent Authorities shall also 2. look favourably upon co production to be undertaken with any other country linked with India and New Zealand by an offi cial co production agreement.
ARTICLE 7
ParticipantsThe persons participating in the production 1. of a fi lm shall fulfi ll the following requirements:
As regards the Republic of India, they a. shall be -
Nationals/Citizens of the Republic (i) of India or
Permanent residents of India; (ii)
As regards the New Zealand - to be b. indicated –
Participants in the Co-Production as defi ned in sub paragraphs (a) and (b) must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity.
Subject to the approval of the competent 2. authorities:
where script or costs dictates, a. restricted numbers of performers from other countries may be engaged;
in exceptional circumstances, restricted b. numbers of technical personnel from other countries may be engaged
ARTICLE 8
Film Processing, Laboratory work, Negatives and Languages etc.
The processing of fi lm including the 1. laboratory work, digital intermediate, visual and special effects work shall be done in either India or New Zealand unless it is technically impossible to do so, in which case the Competent Authorities of both countries may authorize such work in a country not participating in the co production.
At least 90% (ninety per cent) of the 2. footage included in a Co-Production fi lm shall be specially shot or crated for the fi lm unless otherwise approved by the competent authorities
Two negatives, or at least one negative and 3. one duplicate negative, shall be made of all Co-produced fi lms. Each Co-producer shall be entitled to make a further duplicate or prints there from. Each Co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the Co-producers themselves.
The original soundtrack of each Co-4. Production fi lm shall be made in Hindi or any other Indian language or dialect or, in English or ----- or in any combination of those permitted languages. Dialogue in other languages may be included in the Co-Production, as the script requires.
The dubbing or subtitling into one of the 5. permitted languages of the Republic of India or New Zealand shall be carried out in the Republic of India, or in the New Zealand. Any departure from this principle must be approved by the competent authorities.
Post-release print dubbed into any other 6. language may be carried out in third countries
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The soundtrack may contain sections of 7. dialogue in any language in so far as is required by the script.
ARTICLE 9
Location ShootingLive action shooting and animation works 1. such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out either in India or in New Zealand.
The Competent Authorities may approve 2. location shooting in a country other than those of the participating Co-producers if the script or action so requires and if technicians from India and New Zealand take part in the shooting.
Notwithstanding Article 7, where location 3. shooting is approved in accordance with the present Article, citizens of the country in which location shooting takes place may be employed as crowd artists, in small roles, or as additional employees whose services are necessary for the location work to be undertaken.
ARTICLE 10
Entry in International FestivalsThe majority Co-producer shall normally 1. enter Co-produced fi lms in international festi¬vals.
Films produced on the basis of equal 2. contributions shall be entered as a fi lm of the country of which the director is a national, and if this is not possible then the fi lm shall be submitted as a fi lm of the country of which the lead actor is a national, subject to the agreement of the competent authorities of both Contracting Parties.
ARTICLE 11
Export of Co produced FilmWhere a Co-Production is exported to a 1. country that has quota regulations, it shall be included in the quota of the Party:
which is the majority Co-producer;a.
that has the best opportunity of arranging b.
for its export, if the respective contributions of the Co-producers are equal;
of which the director is a national, if any c. diffi culties arise with the application of sub-paragraphs (a) and (b) hereof.
Not withstanding Paragraph 1, in the event 2. that one of the Co-producing countries enjoys unrestricted entry of its fi lms into a country that has quota regulations, a Co-Production undertaken under this Agreement shall be as entitled as any other national production of the above-mentioned Co-producing country to unrestricted entry into the importing country if that above-mentioned Co-producing country so agrees.
ARTICLE 12
Acknowledgements, CreditsA Co-Production fi lm and the promotional material associated with it shall include either a credit title indicating that the fi lm is an ‘Offi cial Indian-New Zealand Co-Production” or an ‘Offi cial New Zealand – Indian Co-Production” or , where relevant, a credit which refl ects the participation of the Republic of India, New Zealand and the country of a third Co-producer.
ARTICLE 13
Temporary Entry into the countryFor approved Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country:
Entry into and temporary residence in a. its territory for technical and artistic personnel of the other Contracting Party;
the import into and export from b. its territory of technical and other fi lmmaking equipment and materials by producers of the other Contracting Party.
ARTICLE 14
Permission for Public ExhibitionPermission for public exhibition will be in 1. accordance with local laws in both India and New Zealand.
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The approval of Co-Production status 2. under this Agreement will not mean a commitment to permit public exhibition of the Audiovisual Co-Production.
ARTICLE 15
Balanced contributionA general balance should be maintained 1. with regard to both the artistic and technical personnel, including the cast, and with regard to the fi nancial investment and facilities (studios, laboratories, and postproduction).
The Joint Commission, established in terms 2. of Article 16, shall carry out a review to see whether this balance has been maintained and, if this is not the case, shall take measures, which it considers necessary in order to re-establish such a balance.
ARTICLE 16
Joint CommissionThe Joint Commission shall be composed 1. of representatives from the Competent Authorities and from the audio-visual industry of both the contracting parties.
The role of the Joint Commission shall be 2. to supervise and review the operation of this Agreement and to make any proposals considered necessary to improve the effect of the Agreement.
The Joint Commission shall be convened, 3. whether by meeting or otherwise, at the request of either of the Parties within six months of such a request.
ARTICLE 17
Status of AnnexThe Annex to this agreement constitutes 1. an implementing arrangement in respect of this Agreement and shall be read in conjunction with the provisions of this Agreement
Subject to paragraph 2 of Article 18, any 2. modifi cations to the Annex shall be agreed by both the competent authorities. No modifi cations to the Annex shall confl ict with the provisions of this Agreement.
Modifi cations to the Annex shall be 3. confi rmed by the competent authorities in writing and shall take effect on the date they specify.
ARTICLE 18
Entry into ForceEach of the Parties shall notify the other in writing through the diplomatic channel of the completion of any procedure required by its constitutional law for giving effect.
ARTICLE 19
AmendmentSubject to paragraph 2 of this Article, this 1. Agreement may be amended by written agreement between the two parties through an exchange of diplomatic notes. Amendments shall take effect on the date specifi ed in the notes.
Either Party may by diplomatic note notify 2. the other of a change in its competent authority. The change shall take effect on the date specifi ed in the note.
ARTICLE 20
Settlement of DisputesAny dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation.
ARTICLE 21
Duration and TerminationThe term of this Agreement shall be for a 1. period of three years from the date it enters into force and thereafter automatically renewed for further periods of three years.
Either Contracting Party may terminate 2. this Agreement by giving six months’ written notice in advance of such intention to the other Contracting Party through the diplomatic channel.
Termination of this Agreement shall 3. have no effect on the comple-tion of Co-Productions approved prior to its termination.
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Done at ______________________-this ____day of ______________, ________in the English and Hindi languages, both texts being equally authentic. In case of any divergence in interpretation, the English text shall prevail.
For the Government ofRepublic of INDIA
For the Government of NEW ZEALAND
Annexure to Agreement between the Government of the Republic of India and the Government of the ____________________ on Audio Visual Co-Productions
(Rules of procedure for applications for approval of Co-Production status under this agreement)
Applications for qualifi cation of a fi lm 1. for Co-Production benefi ts under this Agreement for any Co-Production must be made simultaneously to both competent authorities at least thirty (30) days before shooting begins.
The competent authority of both Parties 2. shall communicate their proposal to the other competent authority within twenty (20) days of the submission of the complete documentation as described in paragraph 3 below.
Documentation submitted in support of an 3. application shall consist of the following items, drafted in _________in the case of _______ and in English in the case of India:
3.1 The fi nal script and synopsis; Co-Productions under this Agreement shall be shot in ____________or India, as the case may be, in accordance with the guidelines of the respective country; The Parties shall inform each other from time to time of relevant guidelines and any changes thereto.
3.2 Documentary proof of having legally acquired the rights to produce and exploit the Co-Production and that the
copyright for the Co-Production has been legally acquired;
3.3 a copy of the Co-Production contract signed by the two Co-producers.
The contract shall include - the title of the Co-Production;a.
the name of the author of the script, or b. that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a fi lm from the author/legal heirs may be attached;
the name of the director (a substitution c. clause is permitted to provide for his/her replacement if necessary);
the budget; d.
the fi nancing plan;e.
a clause establishing the sharing f. of revenues, markets, media or a combination of these;
a clause detailing the respective shares g. of the Co-producers in any over or under expenditure, which shares shall in principle be proportional to their respective contributions, although the minority Co-producer’s share in any over expenditure may be limited to a lower percentage or to a fi xed amount providing that the minimum proportion permitted under Article 9 of the Agreement is respected;
a clause stating that the competent h. authorities have to be informed if the percentage of the contribution of a co- producer changes subsequent to the
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approval of the competent authorities; in any case, the contribution may not be less than the minimum contribution agreed in Article 9;
a clause stating that fi lms Co-produced i. under this Agreement may be publicly exhibited in either country in accordance with prescribed rules/procedures;
a clause recognizing that admission to j. benefi ts under this Agreement does not constitute a commitment that governmental authorities in either country will grant a license to permit public exhibition of the Co-Production;
a clause prescribing the measures to k. be taken where:
(i) after full consideration of the case, the competent authorities in either country refuse to grant the benefi ts applied for;
(ii) the competent authorities prohibit the exhibition of the Co-Production in either country or its export to a third country;
(iii) either one or the other Party fails to fulfi ll its commitments;
the period when shooting is to begin;l.
a clause stipulating that the majority m. Co-producer shall take out an insurance policy covering at least “all production risks” and “all original material production risks”; and
a clause providing for the sharing of the n. ownership of copyright on a basis that
it is proportionate to the respective contributions of the Co-producers.
3.4 the distribution contract, where it has already been signed, or a draft if it has yet to be concluded;
3.5 a list of the creative and technical personnel indicating their nationalities and, in the case of performers, the roles they are to play;
3.6 the production schedule; 3.7 the detailed budget identifying the
expenses to be incurred by each country; and
3.8 all contracts and other relevant fi nancial documentation for all participants in the fi nancial structure.
The competent authorities can demand any 4. further documents and all other additional information deemed necessary.
In principle, the fi nal shooting script 5. (including the dialogue) should be submitted to the competent authorities prior to the commencement of shooting.
Amendments, including the replacement of 6. a Co-producer, may be made in the original contract, but they must be submitted for approval by the competent authorities before the Co-Production is fi nished. The replacement of a Co-producer may be allowed only in exceptional cases and for reasons satisfactory to both the competent authorities.
The competent authorities will keep 7. each other informed of their respective decisions.
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The government of the republic of poland and the government of the republic of india hereinafter referred to as the “Parties”:CONSIDERING it desirable to establish a legal framework for relations regarding audiovisual Co-Production, especially the production of fi lms for the cinema and television, as well as fi lms intended solely for dissemination on analogue or digital data carriers;AWARE that a high quality of Co-Production may encourage the development of enterprises and institutions which produce, distribute and disseminate fi lms and enhance cultural and economic exchange between both States;CONVINCED that such exchange shall strengthen relations between both States;Have agreed as follows:
ARTICLE 1
For the purpose of this Agreement, the 1. term “Co-Production” shall mean a feature fi lm intended for screening in the cinema as the primary fi eld of exploitation, as well as a documentary, educational and animated fi lm, regardless of length, jointly
fi nanced and produced by Co-producers from Poland and India; recorded on fi lm or magnetic tape or on a digital medium; and intended for public dissemination in any way, especially in the cinema, on television or on analogue or digital data carriers. The term “Co-Production” shall also mean a plan to produce and the process of producing such a fi lm.
Each Co-Production undertaken under this 2. Agreement, after it has fulfi lled all the conditions herein, must gain approval from the following Competent Authorities:
In the Republic of Poland – the (i) Minister of Culture and National Heritage,
In the Republic of India – the (ii) Ministry of Information, Radio and Television.
Each Co-Production undertaken (iii) under this Agreement shall be realized and disseminated in accordance with the law in force in Poland and in India.
POLANDAGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC
OF POLAND AND THE GOVERNMENT OF THE REPUBLIC OF
INDIA ON AUDIOVISUAL CO-PRODUCTION.
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Unless otherwise provided for (iv) under the laws in force in Poland and India, each Co-Production undertaken under this Agreement shall be regarded a domestic production in each State-Party in order to obtain all present and future benefi ts conferred upon domestic productions in these two States. Nevertheless, such benefi ts shall be due only to Co-producers from the country which confers these benefi ts.
ARTICLE 2
Each Co-producer must possess broad professional experience, good technical organization, considerable organization abilities, strong fi nancial support and a good reputation. These qualities shall be verifi ed by the parties to co-production agreements, and no clause in this Agreement shall give rise to any liability by the Competent Authorities or Governments to conduct such a verifi cation.
ARTICLE 3
The contribution of Co-producers from 1. each State should range from twenty percent (20%) to eighty percent (80%) of the budget of each Co-Production.
The Co-producers from each State 2. should make a tangible creative and technical contribution to a Co-Production in proportion to their share in its budget, encompassing the total engagement of fi lmmakers, actors, technical-production personnel, laboratories and facilities. In justifi ed cases, the Competent Authorities may approve a Co-Production which does not satisfy all of these requirements.
ARTICLE 4
Producers, directors, screenwriters and actors, as well as technicians and remaining staff engaged in the Co-Production, must hold Polish or Indian citizenship or have their place of abode or permanent residence in one of these States, in accordance with the domestic law of each State. In justifi ed cases,
the Competent Authorities may approve a Co-Production which does not satisfy all of these requirements.
ARTICLE 5
The Competent Authorities may approve a 1. Co-Production involving, apart from Polish and Indian Co-producers, Co-producers from third countries which are parties to an audiovisual Co-Production agreement with at least one of these States (multilateral Co-Production).
The minimum contribution by a Co-2. producer in a multilateral Co-Production should be ten percent (10%) of the Co-Production’s budget. Article 3 para 2 of this Agreement shall apply as appropriate.
ARTICLE 6
Filming and animation work, including 1. the storyboard, layour, key animation and in between as well as sound recording, should be carried out in Poland or India.
The fi lming of scenes in the open air 2. or indoors may be performed in a third country if the screenplay or plot requires it and if Polish and Indian technicians are involved in this work.
Laboratory processing shall be carried 3. out in Poland or India, unless this is not possible for technical reasons. In such a case, the Competent Authorities may permit the laboratory processing to be carried out in a third country.
ARTICLE 7
The original soundtrack of each Co-1. Production shall be recorded in Polish, English or one of the languages or dialects of India (languages of the Parties). Dubbed soundtracks in any of these languages may be recorded in Poland or in India. A fi lm may be made in more than one language of the Parties version. Dialogues may also be recorded in other languages if the screenplay requires this.
Each language version of each Co-2. Production (dubbing or subtitles) shall
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be produced in Poland and in India, as appropriate. Any departures from this rule must be approved by the Competent Authorities.
ARTICLE 8
Each Co-Production shall be made in at least 1. two copies of good picture quality, of equal legal validity, and in two international sound copies, on media which permit independent distribution in Poland and India.
The original negatives, as well as the fi nal 2. version of back up copies and master copy, shall be stored in the country of the majority Co-producer or in another place agreed upon between the Co-producers. Regardless of the place of storage, each Co-producer should have guaranteed access to these materials at any time, so that he may make essential reproductions under terms and conditions agreed upon between the Co-producers.
At least two backup copies of medium 3. and high-budget Co-Productions shall be made. If the Co-producers so agree, only one backup copy and one copy of the materials for reproduction may be made in the case of Co-Productions deemed to be low budget Co-Productions by the Competent Authorities.
ARTICLE 9
In accordance with the laws in force in their States, the Parties shall:
Permit producers, copywriters, directors, 1. technicians, actors and other personnel specifi ed in each Co-Production agreement to enter and briefl y stay in their country,
Permit the fi lm equipment and tapes 2. required for Co-Production to be brought into and taken out of the country.
ARTICLE 10
The division of revenues between Co-producers should correspond to their contribution to the Co-Production, taking into account Article 3 para 2 of this Agreement, and should be clearly stated in the Co-Production agreement.
ARTICLE 11
No provision of this Agreement shall imply that the approval of Co-Production or the granting of any associated benefi ts by the Competent Authorities signifi es an obligation by any of the Governments so grant a license, concession, permit or similar decision to Co-producers or any other persons for the dissemination of a Co-Production. Neither shall any such provision imply that these Authorities consider a Co-Production justifi ed or bear any responsibility for it.
ARTICLE 12
If a Co-Production is exported to a third 1. country which applies a maximum quota of such imports, the Co-Production shall be included in the quota of the majority Co-producing State.
If there is no majority Co-producing State, 2. the Co-Production shall be included in the quota of that State-Party which, in the joint opinion of the Co-producers, has better chances of exporting the fi lm. In the absence of agreement between the Co-producers, the Co-Production shall be included in the quota of the country of which the director is a citizen.
If one of the State-Parties enjoys an 3. unlimited right to export its fi lms to a third country which applies a maximum quota of such imports, the Co-Production, like any other domestic production of the State-Party, shall be the subject of unlimited exports to that third country, with the approval of that country’s Competent Authorities.
ARTICLE 13
Each Co-Production destined for 1. presentation shall be endorsed with the caption “A Polish Indian Co-Production” or “An Indian-Polish Co-Production”, depending on the majority Co-producer’s country of origin. In the absence of such a Co-producer, the Co-Production shall be endorsed in accordance with the terms of the Co-Production ent.
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The caption referred to in para 1 shall be 2. accommodated in the opening credits and in all advertising and promotional materials, especially whenever such a Co-Production is presented.
ARTICLE 14
Unless otherwise agreed upon by the 1. Co-producers, if a Co-Production is to be presented at an international fi lm festival, it shall be submitted by the majority Co-producer’s country or, in the absence thereof, by the country of which the fi lm director is a citizen.
Prizes, grants and other distinctions 2. granted for the Co-Production shall be divided between the Co-producers in accordance with the terms of the Co-Production agreement and the laws in force in both States.
All non-pecuniary awards granted for the 3. Co-Production, especially any honorary distinctions and statuaries conferred by a third country or by an organization from a third country, shall be kept by the entity specifi ed in the Co-Production agreement or, in the absence thereof, by the majority Co-producer.
ARTICLE 15
The producers governing the application of this Agreement, taking into account the law in force in Poland and in India, are set forth in an Appendix to this Agreement and thus form an integral part thereof.
ARTICLE 16
The Parties shall impose no restrictions on the import, distribution and dissemination of Polish and Indian fi lms to be shown in the cinema or on television, or destined solely for distribution on analogue or digital data carriers, to the extent permitted under the laws of Poland and India.
ARTICLE 17
The Parties and Competent Authorities 1. shall resolve any disputes during the
realization of this Agreement by means of negotiations.
For the purpose of a further expansion of 2. co-operation between the two States in the sphere of audiovisual Co-Production, the Parties express their readiness to introduce all necessary amendments and additions to this Agreement in the manner foreseen in the laws of both States.
To facilitate the application of this 3. Agreement, the Parties or Competent Authorities may appoint a Joint Commission which will normally meet every two years, alternately in Poland and in India. The Commission may also be convened for an extraordinary meeting at the motion of the Competent Authorities or one or both Parties, especially in the event of signifi cant changes to the legislation of any of the States-Parties which could affect the implementation of this Agreement, or in the event of major diffi culties with its implementation.
ARTICLE 16
This Agreement is subject to acceptance 1. in accordance with the laws of each Party, which shall be effected by means of an exchange of memoranda. The date on which this Agreement enters into force shall be the date on which the later of the two memoranda is received.
This Agreement is concluded for an 2. indefi nite period. Either Party may terminate it with six month’s notice, conveyed to the other Party in writing.
Any Co-Productions approved by the 3. Competent Authorities and being realized at the moment of termination of this Agreement by either party shall continue to be bound by the terms thereof until they are completed. If this Agreement expires or is terminated, its provisions will be applied to the division of revenues from completed Co-Productions.
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In witness whereof the undersigned, duly authorized by their respective Governments, have signed this Agreement.
Done in ……………on……………….in two counterparts, each of them in Polish and in English, whereby all texts are equally authentic.
For the Government of Republic of INDIA
For the Government of Republic of POLAND
APPENDIX
PROCEDUTESGeneral ProvisionsApplications for any benefi ts under this Agreement in aid of any Co-Production must be submitted simultaneously to the Competent Authorities at least sixty (60) days before fi lming begins. The Competent Authorities of the State of which the majority Co-producer or another Co-producer indicated by the Co-producers is a citizen shall convey their decision to the Competent Authorities of the other State within thirty (30) days of the submission of the complete documentation listed below. Again within thirty (30) days, the Competent Authorities of the other State shall convey their decision to the Competent Authorities of the fi rst State and to the Co-producer appointed by the Co-producers.Applications should be supported by the following documents, drawn up in Polish and English in the case of Poland and in English and one of the languages of India in the case of India:
Final version of the screenplay, 1.
Evidence of the lawful acquisition of 2. the copyright necessary to a given Co-Production,
A signed copy of a Co-Production agreement 3. concluded between Co-producers, which should contain:
The title of the Co-Production,a.
The name of the author of the b. screenplay or of the person who adapted the screenplay, if it is based on literary sources,
The name of the director,c.
A synopsis,d.
A budget plan, e.
A fi nancial plan, stating the fi nancial f. input of the Co-producers,
A clause defi ning the division of g. revenues and markets,
A clause setting forth a share in the h. copyright in proportion to the input of individual Co-producers,
A clause describing what to do if the i. budget is exceeded,
A clause describing the measures to j. be taken (if one of the Parties does not discharge its obligations,
A clause setting forth the rules k. governing fi nancial settlements if any Co-producer fails to provide the fi nancial contribution agreed upon in the Co-Production agreement,
A clause confi rming that the acceptance l. of a Co-Production does not imply any production will be distributed in the States-Parties,
A clause obligating the majority Co-m. producer to take out an insurance policy providing cover at least against “all production risks” and “all production risks connected with original materials.”
The date on which fi lming n. commences.
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The distribution agreement, if such an 4. agreement has already been concluded,
A list of the fi lmmakers, actors and 5. technicians, indicating their nationality and, in the case of actors, the names of their characters,
A production schedule,6.
A detailed budget, showing the expenditures 7. to be incurred by the Co-producers in each country.
IMPORTANT PROVISIONS FOR INDIAIn addition, an application addressed to the Indian Ministry of Information, Radio and Television (MIRT) should be accompanied by four copies of the screenplay and fi lm synopsis, together with a payment mandate for USD 200 payable to the MIRT Department of Payments and Settlements. If the fi lm is to be shot wholly or partly in India, the Co-producers must provide the Indian Embassy in Poland and MIRT with the following information:
Details of any non-Indian members of 1. the fi lm crew: names, passport numbers and expiry dates, country which issued the passport, nationality, permanent and temporary address.
An accurate description of the shooting 2. locations and the fi lm crew’s travel plans.
A description of the cinematographic 3. equipment and quantity of fi lm to be brought in to India temporarily.
Within three weeks of receipt of the required set of documents, the MIRT will send the appropriate fi lming permit to all Co-producers and the Competent Authorities in the other State. A longer period for issuing the fi lming permit may be required if fi lming is to take place in Jammu and Kashmir, north-eastern States and some border zones.Permission to fi lm in India may be dependent upon the following conditions:
Permission from a person or his legal heir 1. who is to be portrayed in the fi lm; a copy of the permission should be attached to the screenplay,
If it is necessary to obtain assistance 2. from the Ministry of Defence, Ministry of Education, etc. separate agreements may have to be concluded with these Ministries. Requests for such assistance may be submitted vis the MIRT,
Each fi lm for whose production the 3. assistance of the Armed Forces has been obtained must be presented to the Ministry to the Ministry of Defence in order to obtain permission for its distribution.
In particular cases, a fi lm may have to 4. be presented to a representative of the Government of India or to the Indian Embassy in Poland before it can be shown anywhere in the world. Also in particular cases, a liaison offi cer may be assigned to a fi lm crew – at the expense of the Government of India.
CONCLUDING PROVISIONSThe Competent Authorities may ask for any additional documents or information which they consider essential in order to consider an application for a Co-Production.The fi nal screenplay (with script) should be presented to the Competent Authorities prior to the start of fi lming.Amendments, including a change of Co-producer, may be made to the original Co-Production agreement. However, any amendments must be submitted to the Competent Authorities for approval before the Co-Production is completed. A change of Co-producer is permissible only in exceptional circumstances, and for reasons considered by the Competent Authorities to be satisfactory. The Competent Authorities shall inform each other of the decisions they have reached.
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The Republic of India and The Kingdom of Spain (hereinafter, “The Parties”)Seeking to improve cooperation between the two countries in the audiovisual fi eld: aware of the contribution which Co-Production can make to the development of the audiovisual industry.Desirous of promoting and facilitating the Co-Production of fi lms between the two countries, and the development of their cultural and economic exchanges.Convinced that these exchanges shall contribute to improving relations between the two countries:Have agreed as follows:
ARTICLE 1
In this Agreement, unless the Agreement otherwise requires:
A “Co-Production” is a fi lm including 1. feature fi lm, documentary, and animation fi lm irrespective of length, on any format to be shown in the fi rst place in cinemas, jointly invested in and produced by Co-producers made in accordance with
the terms of recognition given by the competent authorities of India and Spain under this Agreement. New forms of audio-visual production shall be included in the present Agreement by exchange of notes between the Parties.
The Competent Authorities responsible 2. for the implementation of this Agreement shall be :
On behalf of the Republic of India, a. by the Ministry of Information and Broadcasting.
On behalf of the Kingdom of Spain, by b. the Instituto de la Cinematografi a y de las Artes Audiovisuales (Institute of Cinematography and Audiovisual Arts) and when applicable, the competent authorities of the Autonomous communities where applicable.
Co-Productions falling within the scope c. of this Agreement shall be subject to the approval of the competent authority.
SPAINAGREEMENT OF AUDIOVISUAL CO-PRODUCTION
BETWEEN THE REPUBLIC OF INDIA AND THE
KINGDOM OF SPAIN.
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The Contracting parties shall inform d. each other if the competent authorities are replaced by others.
Subject to the approval of both competent 3. authorities, a fi lm Co-produced in compliance with this Agreement shall be deemed to be a national fi lm in the territory of each Party and shall thus be fully entitled to all the benefi ts which are granted under the laws and regulations in force in the territory of each Party.
ARTICLE 2
The Co-producer in either of the two 1. countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, fi nancial backing and professional reputation.
The Contracting Parties shall in no way 2. be responsible or liable with regard to credentials of either of the Co-producers.
ARTICLE 3
Before shooting starts, Co-Production 1. fi lms shall require approval from both the competent authorities. For this purpose, each Co-producer would be required to submit an application, alongwith the information as required in the Annexure, to the Competent Authority. Approvals shall be notifi ed in writing and must specify the conditions according to which the approval is granted.
The Co-producers of a fi lm shall have their 2. principal offi ce or a branch offi ce in the territory of one of the Contracting Parties. None of the Co-producers shall be linked by common management, ownership or control.
Co-Productions falling within the scope 3. of this Agreement shall be subject to the approval of both the Competent Authorities, who would take into consideration their respective policies and guidelines and the requisites laid down in Annexure to this Agreement.
ARTICLE 4
On a general basis, in Co-Productions there 1. must exist an effective contribution of technical, creative and artistic personnel, of the nationality of the participant countries, which must be in proportion to the fi nancial contribution made by each Co-producer.
Technical and artistic personnel are those 2. persons who, in accordance with the domestic law in force in their own country, are recognized as makers of audio-visual productions, in particular screenwriters, directors, composers, editors, directors of photography, art directors, actors and sound technicians. The contribution of each of these persons shall be evaluated individually.
The contribution by a minority Co-producer will include participation of at least two actors and a head of Department in addition to an author (author means director or screenwriter or photography director or music composer).Both the fi nancial contribution and the 3. participation of each of the Co-producers in the performing, technical, artistic and creative tasks shall represent at least 20% (twenty percent) of the budget in making the Co-Production fi lms.
As an exception to the contribution 4. rules stated in paragraph 1 & 2 of this Article, both Competent Authorities shall be able to grant approval to the Co-Production projects known as “fi nancial Co-Productions” in which the contribution of one of the Co-producers is limited to only fi nancing, in which case fi nancial contribution shall be no greater than 25% (twenty fi ve percent) nor less than 10% (ten percent) of the total cost of the fi lm.
ARTICLE 5
When India or Spain maintains an audio-1. visual Co-Production agreement with a third country, the competent authorities shall, by virtue of this Agreement, be able to approve a Co-Production project to be produced with the participation of
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a Co-producer from a third party, whose contribution may be no greater than 30%.
In the event of multilateral Co-Productions, 2. the lesser participation may be not lower than 10 percent and the greatest one not higher than 70 percent of the cost of the fi lm.
ARTICLE 6
The producers of a Co-Production shall be 1. Nationals/ citizens or permanent residents either of India or Spain subject to any sort of compliance of the obligations created by European Union upon Spain as a member.
Participants in the Co-Production as 2. defi ned in paragraph 1 must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity.
Should the fi lm so require, the participation 3. of professionals who are not citizens of one of the Co-producing countries may be permitted, but only in exceptional circumstances, and subject to agreement between the competent authorities of both Contracting Parties.
ARTICLE 7
The rights, revenues and prizes arising in connection with the Co-Production shall be shared between the Party Co-Producers in a manner that shall be agreed between the Party Co-producers.
ARTICLE 8
Live action shooting and animation works 1. such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out either in India or in Spain.
Location shooting of a Co-produced 2. fi lm, exterior or interior, in a country not participating in the Co-Production may, however, be authorized by the competent authorities of both countries if the script or the action so requires and if technicians from India and Spain take part in the shooting.
The processing and post-production of Co-3. Productions shall be done either in India or Spain, unless it is technically impossible to do so, in which case the processing and post-production in a country not participating in the Co-Production may be authorized by the competent authorities of both countries.
ARTICLE 9
The Co-Production shall have the original 1. soundtracks either in Hindi, or in other Indian language or dialect, or in Spanish or in any other offi cial languages in Spain, or English language or in any combination of those permitted languages, which can further be dubbed in any of these languages.
In the event, if script so desires, any 2. other language can be used for stray dialogues with permission from competent authorities.
It will be necessary that the dubbing or 3. sub-titling of the Co-Production will be done or performed either in India or Spain. Dubbing or sub-titling in Indian languages should be performed in India and dubbing or sub-titling into Spanish or in any other offi cial languages in Spain should be performed in Spain, and dubbing or sub-titling in English could be performed in India or Spain depending upon the agreement between Co-producers.
ARTICLE 10
The Co-Production fi lm and the promotional 1. material associated with it shall include certain credit titles stating that the fi lm is a “Co-Production between India and Spain” or a “Co-Production between Spain and India” or, when appropriate credit titles refl ecting the participation of India, Spain and the country of a third Co-producer.
Prizes, grants, incentives and other 2. benefi ts awarded to the Co-produced work may be shared between the Co-producers, in accordance with what has been established in the Co-Production
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contract and in conformity with applicable laws in force.
All prizes which are not in cash form, 3. such as honorable distinctions or trophies awarded by third countries, for Co-produced work produced according to the norms established by this agreement, shall be kept in trust by the majority Co-producer or according to terms established in the Co-Production contract/ agreement.
ARTICLE 11
When a Co-produced fi lm is exported to a 1. country, which has quota limitations:
In principle, the Co-produced fi lm shall a. be included in the quota of the country of the majority investment;
If both Co-producers have made an b. equal investment, Co-producers of both sides shall decide the quota in question through mutual consultation, so that the Co-produced fi lm can be included in the quota of the country that can make better arrangements for the export of the fi lm;
If diffi culties still exists, the Co-c. produced fi lm shall be included in the quota of the country of which the director is a national.
Notwithstanding paragraph 1, in the 2. event that one of the Co-producing countries enjoys unrestricted entry of its fi lms into a country that has quota regulations, a co production undertaken under this Agreement will be as entitled as any other national production of the above-mentioned Co-producing country to unrestricted entry into the importing country if that above-mentioned Co-producing country so agrees.
ARTICLE 12
For approved Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country:
Entry into and temporary residence in a. its territory for technical and artistic personnel of the other Contracting Party;
the import into and export from b. its territory of technical and other fi lmmaking equipment and materials by producers of the other Contracting Party.
ARTICLE 13
Permission for public exhibition will be in accordance with local laws in both India and Spain.
ARTICLE 14
Notwithstanding any other provision in this Agreement, for the purpose of taxation the laws in force in both the countries shall apply.
ARTICLE 15
There shall exist a Joint Commission 1. composed of representatives of the Parties, including the competent authorities and representatives of the industry.
The role of the Joint Commission shall 2. consist of supervising and reviewing the application of this Agreement, making any proposal that is amended necessarily for improving the effect of the Agreement and modifying the appendix hitherto as appropriate.
The Joint Commission shall be convened, 3. whether by meeting or otherwise, at the request of either of the Parties, within six months of such a request.
ARTICLE 16
This Agreement shall come into force after each Party has informed the other Party through offi cial diplomatic channels that its internal ratifi cation procedures have been completed.
ARTICLE 17
This Agreement may be amended by the mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through the diplomatic channel. The change shall take effect on the date specifi ed in the note.
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ARTICLE 18
Any dispute between the Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation and shall not be referred for resolution to any national or international tribunal or a third party.
ARTICLE 19
This Agreement including the Annex, which 1. forms an integral part of this agreement, shall remain in force unless terminated in terms of paragraph (2).
Either Contracting Party may terminate 2. this Agreement by giving six months’ written notice in advance of such intention to the other Contracting Party through the diplomatic channel.
Notwithstanding the provisions of 3. paragraph 1 of this Clause, this Agreement shall continue in force with regard to any Co-Production fi lm that has received approval from the competent authorities and which has not yet been completed prior to its termination.
Done at _____________on the day _________ of__________________
in three originals each in Hindi, Spanish and English, all these versions being authentic.
For the Republic of INDIA For the Republic of SPAIN
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The Government of the United Kingdom of Great Britain and Northern Ireland and the Government of the Republic of India (“hereinafter called the Parties”): Considering that there is potential for the fi lm industries of each country to work together on account of shared or complementary characteristics that include the structure of each fi lm industry, the fi lm culture of each country and the extent of the availability in each country of fi lmmaking facilities, a suitably skilled workforce and locations for fi lming; Recognising that development of such potential will be to the mutual advantage of each Party, in particular in respect of the growth and competitiveness of their fi lm industries and the enhancement of their fi lm cultures; Noting the benefi ts available in each country to fi lms with national fi lm status; Desiring to encourage the making of fi lms that refl ect, enhance and convey the diversity of culture and heritage in both countries; Acknowledging the benefi ts that would fl ow
from the making of such fi lms and their increased public availability; and Noting on the basis of mutual cooperation, the Agreement is intended to produce benefi ts for both parties. Have agreed as follows:
ARTICLE 1
Defi nitions In this Agreement: 1.
“Approved Co-Production” means a Co-produced fi lm which has Approved Co-Production status in accordance with Article 2;
“Co-producer” means any individual, partnership, body corporate or unincorporated association who is a Co-producer of a fi lm;
“Competent Authority” means a government department or other body as shall be nominated by the respective Party in each country to make decisions on applications for the grant of Approved Co-
UNITED KINGDOMFILM CO-PRODUCTION AGREEMENT BETWEEN THE
GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN
AND NORTHERN IRELAND AND THE GOVERNMENT OF THE
REPUBLIC OF INDIA.
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Production status; “Film” includes any record, however made,
of a sequence of visual images, which is a record capable of being used as a means of showing that sequence as a moving picture, and for which there is an expectation for theatrical release and public exhibition.
“Indian Co-producer” means a Co-producer who is established and/or incorporated in India; and
“UK Co-producer” means a Co-producer who is established and/or incorporated in England, Wales, Scotland or Northern Ireland. References to fi lmmaking contribution 2. benefi ting the UK or India include, in particular, the expenditure in that country on goods and services which directly results from the Co-Production and the use made of fi lmmaking facilities or fi lming locations in that country.
Subject to Article 2(2) the Annex forms an 3. integral part of this Agreement. Any reference to this Agreement includes the Annex.
ARTICLE 2
Approved Co-Production status The Competent Authorities may grant 1. approved Co-Production status to a fi lm which provides appropriate fi lmmaking and cultural benefi ts to the UK and India; and meets the requirements set out in this Agreement.
The Parties shall jointly arrive at, through a 2. subsequent exchange of notes, a mutually agreed Annex to this Agreement. The Annex shall include requirements as to:
the appropriate fi lmmaking and a. cultural benefi ts to the UK and India;
the nature of Co-producers; b.
the minimum and maximum fi nancial c. contributions of Co-producers;
fi lmmaking contributions of Co-d. producers;
content, language, credits, locations e. and personnel; and
any other matters that the Parties f.
consider desirable.
The Annex shall also include rules of 3. procedures on:
the granting of approvals of an a. application for Approved Co-Production status;
the withdrawal of Approved Co-b. Production status;
any other matters that the Parties c. consider desirable.
The Annex shall include provision as to the 4. criteria for measuring mutual benefi ts.
The Annex shall enter into force as soon as 5. the Parties have notifi ed each other of the completion of their respective legal and constitutional procedures.
In determining an application made to it, 6. a Competent Authority shall apply these requirements in accordance with guidance published by the Competent Authority under this Article.
Each Competent Authority may from time 7. to time publish guidance consisting of such information and advice as it considers appropriate with respect to:
how applications are to be made to the a. Competent Authority, and
the operation and interpretation of this b. Agreement.
Such guidance shall, in particular, set out: 8.
how the Competent Authority proposes a. to make decisions on applications for the grant of Approved Co-Production status, and
factors it will take into account when b. exercising any discretion conferred on it by this Agreement.
Nothing in this Agreement binds the 9. relevant authorities in the UK or India to permit the public exhibition of a fi lm, which has been granted Approved Co-Production status.
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ARTICLE 3
Benefi ts This Article applies in relation to any fi lm 1. which has Approved Co-Production status under this Agreement.
Each Party shall permit, in accordance 1. with their respective legislation, including, for the UK relevant European Community legislation, temporary import and export, free of import or export duties and taxes, of any equipment necessary for the production of an Approved Co-Production.
Each Party shall permit any person 2. employed in the making or promotion of an Approved Co-Production to enter and remain in the UK and India, as the case may be, during the making or promotion of the fi lm, subject to the requirement that they comply with the legislation relating to entry, residence and employment.
Each Party shall treat a fi lm falling within 3. paragraph (1) of this Article as a national fi lm for the purposes of any benefi ts afforded in that country to national fi lms.
The question of which Party may claim 4. credit for an Approved Co-Production as a national fi lm at an International Film Festival shall be determined:
by reference to whichever is the a. greater of either:
the total fi nancial contributions (i) made by the UK Co-producer or Co-producers (taken together), or
the total fi nancial contributions (ii) made by the Indian Co-producer or Co-producers (taken together); or
if the respective total fi nancial b. contributions are equal, by reference to whichever of the UK or India the director of the fi lm is most closely associated with.
ARTICLE 4
Films in production before and after entry into force
A fi lm shall be eligible for the grant of 1. Approved Co-Production status even if production commenced before this Agreement entered into force, but only if:
the fi rst day of principal photography a. of the fi lm is no more than 18 months before the date on which the Agreement enters into force, and
production of the fi lm is completed after b. the date on which the Agreement enters into force.
An Approved Co-Production shall continue 2. to be eligible to receive any benefi ts available under this Agreement on or after the date on which the Agreement ceases to have effect, but only if:
before that date, the Competent a. Authorities have given the fi lm requisite approval for Approved Co-Production status under Article 2.
its principal photography commenced b. before the date on which the Agreement ceases to have effect, and
production of the fi lm is completed c. before the end of the period of twelve months commencing with the date on which the Agreement ceases to have effect.
ARTICLE 5
Review and Amendment The Parties shall keep the Agreement 1. under review and, where they consider it appropriate to do so, may recommend that changes be made.
The Parties shall report to the other 2. annually in writing on the current state of the Agreement.
The Parties may, at any time through an 3. exchange of mutually agreed notes, make amendments to the Agreement.
Any such amendment shall enter into force 4. as soon as the Parties have notifi ed each other of the completion of their respective legal and constitutional procedures.
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ARTICLE 6
International obligations The provisions of this Agreement are 1. without prejudice to the international obligations of the Parties, including in relation to the United Kingdom obligations arising from European Community law.
ARTICLE 7
Entry into force 1. This Agreement shall enter into force as
soon as the Parties have notifi ed each other of the completion of their respective legal and constitutional procedures. 2. Either Party may terminate this Agreement at any time by giving at least 6 months’ prior written notice to the other Party. 3. The Agreement shall cease to have effect on the expiry of the period of notice given under paragraph (2) of this Article.
IN WITNESS WHEREOF, the undersigned, being duly authorised thereto by their respective Governments, have signed this Agreement. DONE in duplicate at New Delhi this fi fth Day of December 2005 in the English and the Hindi languages, both texts being equally authentic. In case of any divergence in interpretation, the English text shall prevail.
For the Government of INDIAFor the Government of the United the
Republic Kingdom of GreatBRITAIN and NORTHERN IRELAND
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ANNEX
Rules for applications
for approval of Film Co-production Agreement
between
the Government of the Republic of India
and
the Government of United Kingdom of Great
Britain
and Northern Ireland
Applications for qualifi cation of a fi lm 1. for co-production benefi ts under this Agreement for any co-production must be made to competent authority at least thirty (30) days before shooting begins.
Documentation submitted in support of an 2. application shall consist of the following items, drafted in English:
2.1 The fi nal script and synopsis;
2.2 Documentary proof of having legally acquired the rights to produce and exploit the Co-Production and that the copyright for the co-production has been legally acquired;
2.3 Proof of compliance with the prescribed procedure for permission regarding entry of crew, equipment and for shooting location in India;
2.4 A copy of the co-production contract signed by the two co-producers.
The contract shall include –
a) the title of the co-production;
b) the name of the author of the script, or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a fi lm from the author/legal heirs may be attached;
c) the name of the director
d) the budget;
e) the fi nancing plan;
f) a clause establishing the sharing of revenues, markets, media or a combination of these;
g) a clause detailing the respective shares of the co-producers in any over or under expenditure, which shares shall in principle be proportional to their respective contributions, although the minority co-producer’s share in any over expenditure may be limited to a lower percentage or to a fi xed amount providing that the minimum proportion permitted under the Agreement is respected;
h) a clause stating that the competent authorities have to be informed if the percentage of the contribution of a co-producer changes subsequent to the approval of the competent authorities;
i) a clause stating that fi lms co-produced under this Agreement may be publicly exhibited in either country in accordance with prescribed rules/procedures;
j) a clause recognizing that admission to benefi ts under this Agreement does not constitute a commitment that governmental authorities in either country will grant a license to permit public exhibition of the co-production;
k) a clause prescribing the measures to be taken where:
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(i) after full consideration of the case, the competent authorities in either country refuse to grant the benefi ts applied for;
(ii) the competent authorities prohibit the exhibition of the co-production in either country or its export to a third country;
(iii) either one or the other Party fails to fulfi ll its commitments;
l) the period when shooting is to begin;
m) a clause stipulating that the majority co-producer shall take out an insurance policy covering at least “all production risks” and “all original material production risks”; and
n) a clause providing for the sharing of the ownership of copyright on a basis that it is proportionate to the respective contributions of
the co-producers.
2.5 the distribution contract, where it has already been signed, or a draft if it has yet to be concluded;
2.6 a list of the creative and technical personnel indicating their nationalities and, in the case of performers, the roles they are to play;
2.7 the production schedule;
2.8 the detailed budget identifying the expenses to be incurred by each country; and
2.9 all contracts and other relevant fi nancial documentation for all participants in the fi nancial structure.
The competent authorities can demand 3. further documents and all other additional information deemed necessary.
The fi nal shooting script (including 4. the dialogue) should be submitted to the competent authority prior to the commencement of shooting.
Amendments may be made in the original 5. contract, but they must be submitted for approval by the competent authorities before the co-production is fi nished.
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237Cannes Film Market
KEY FILM INDUSTRYCONTACTS
A comprehensive list of associations, producers, distributors and independent
fi lmmakers across India
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Key Film Industry Contacts
238 India Film Guide 2015
PRODUCTION HOUSES (SOUTH INDIAN FILM CHAMBER OF COMMERCE)
TAMILA.V.M.PRODUCTIONS
A.V.M.SARAVANAN
044-42136700
K.R.INFOTAINMENT P.LTD
A.KOTHANDARAMAIAH(K.R)
98410-8850
SATHYA JYOTHI FILMS
T.G.THYAGARAJAN
95000-19899
AMMA CREATIONS
T.SIVA
94445-34567
STUDIO GREEN
GNANAVEL RAJA
96000-77666
ALAGAPPA ART
CREATIONS
AL.ALAGAPPAN
98410-23495
GAYATHRI FILMS
CHITRA LAKSHMANAN
94443-83744
ROJA COMBINES
M.KHAJA MOIDEEN
94443-80111
JEYAM COMPANY
EDITOR MOHAN
98402-76403
MURALI CINE ARTS
H.MURALI
94440-87517
LAKSHMI MOVIE MAKERS
K.MURALIDHARAN
94440-87417
THIRRUPATHI BROS.FILM
MEDIA P.LTD
SUBASH CHANDRA BOSE
98840-49333
PYRAMID FILMS
INTERNATIONAL
V.NATARAJAN
98410-54545
MOTHERLAND PICTURES
KOVAI THAMBI
98400-92700
B.R.R.ART ENTERTAINERS
RADHA RAVI
98400-41877
SRI MISHRI
PRODUCTIONS
CHANDRA PRAKASH JAIN
98410-39141
SEVENTH CHANNEL
COMMUNICATIONS
MANICKAM NARAYANAN
98841-91434
SUPER GOOD FILMS
R.B.CHOWDHRY
98410-70204
SURYA MOVIES
A.M.RATHNAM
99625-68605
WIDE ANGLE CREATIONS
SURESH BALAJI
99401-23451
AASCAR FILMS P.LTD
V.RAVICHANDRAN
98410-22246
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Key Film Industry Contacts
Cannes Film Market 239
AGS ENTERTAINMENT
P.LTD
KALPATHI AGORAM
98410-34988
B.STUDIOS
BALA
99445-53319
CAPITAL FILM WORKS
S.P.CHARAN
99401-16660
CLOUD 9 MOVIES
DAYANIDHI ALAGIRI
90031-86771
COMPANY PRODUCTIONS
M.SASIKUMAR
99405-66667
G.K.FILM CORPORATION
G.K.REDDY
98409-80590
P.V.P.CINEMA
POTLURI
93818-41146
R.K.PRODUCTIONS
KASTHOORI RAJA
044-2815-1468
S.PICTURES
SHANKAR
044-2376-0643
SRI THENANDAL FILMS
RAMA NARAYANAN
98410-38782
V.V.CREATIONS
S.A.CHANDRASEKAR
98849-12234
METRO FILMS P.LTD
JAYAKUMAR (METRO)_
96000-75589
RAAJKAMAL FILMS
INTERNATIONAL
KAMAL HAASAN
044-2433-4140
SIVAJI PRODUCTIONS
RAMKUMAR
044-2835-0127
MUKTHA FILMS
MUKTHA V.SRINIVASAN
93802-44118
MOVIE MAGIC
MADHESH
98400-23111
KAVITHALAYA
PRODUCTIONS P.LTD
K.BALACHANDER
98412-27171
SHARANYA CINE
COMBINES
K.BHAGYARAJ
98400-71277
V.CREATIONS
S.THANU
98840-19999
RAJLAKSHMI FILMS
P.LTD
PL.THENAPPAN
94440-00069
SIVASAKTHI MOVIE
MAKERS
SIVASAKTHI PANDIAN
984680660
ANBALAYA FILMS
K.PRABAKARAN
98846-12130
VASAN VISUAL VENTURES
K.S.SRINIVASAN
98409-89111
AVM.FILM STUDIOS
M.BALASUBRAMANIAN
98407-20703
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Key Film Industry Contacts
240 India Film Guide 2015
TELUGUSRI AMULYA ART
PRODUCTIONS
C.KALYAN
078939-55599
DEVI KAMAL MOVIES
K.C.SEKAR BABU
9849635350
CREATIVE COMMERCIALS
K.S.RAMA RAO
098490-99399
SRI KRISHNA PRASANNA
CREATIONS
T.PRASANNA KUMAR
098490-33383
SURESH PRODUCTIONS
D.RAMA NAIDU
9849022033
DASARI FILM
UNIVERSITY
DASARI NARAYANA RAO
098681-81002
GEETHA ARTS
ALLU ARAVIND
098497-34567
SREE LAKSHMI
PRODUCTIONS
T.RAMA RAO
94440-21521
PRASAD PRODUCTIONS
A.RAMESH PRASAD
9849111176
RAMA FILMS
K.NAGESWARA RAO
9866611225
SRI RAGHAVENDRA CINE
CHITRA
K.SATYANARAYANA
9444419354
SAI GANESH
PRODUCTIONS P.LTD
BELLAMKONDA SURESH
098490-05528
VARMA CORPORATION
LTD
RAM GOPAL VARMA
040-23541968
USHAKIRON MOVIES
RAMOJI RAO
08145-246408
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Key Film Industry Contacts
Cannes Film Market 241
KANNADA
MALAYALAM
AJANTHA COMBINES
A.R.RAJU
099806-19726
K.C.N.MOVIES
K.C.N.CHANDRASEKAR
098455-44003
POORNIMA ENTERPRISES
PARVATHAMMA RAJKUMAR
080-23346716
RAMU ENTERPRISES
RAMU
080-2226-3430
ROCKLINE PRODUCTIONS
ROCKLINE VENKATESH
093412-32275
TANU CHITRA
SA.RA.GOVINDU
9448051314
ANJANADRI CINEMA
H.N.MARUTHI
080-22262277
CHINNI FILMS
JAYASREE DEV I
9448810228
SHREE SHOUNDARYA
ARTS
JAYAMALA
080-2341-3331
GRIHALAKSHMI
PRODUCTIONS
DR.P.V.GANGADHARAN
098473-40404
SEVEN ARTS
INTERNATIONAL LTD
G.P.VIJAYAKUMAR
98840-25747
EVERSHINE
PRODUCTIONS
S.S.T.SUBRAMANIAM
098470-35281
MUDRA ARTS
B.SASHIKUMAR
098470-56465
REVATHI KALAMANDHIR
G.SRUESH KUMAR
9447123299
KOKERS FILMS
A.A.SYED KOKER
098470-30040
ADOOR
GOPALAKRISHNAN
PRODNS.
ADOOR GOPALAKRISHNAN
0471-2446567
GANESH PICUTRES
RAVIKOTTARAKARA
97908-33335
CENTURY
M.C.PHILIP ALIAS KOCHUMON
9444017808
SUNITHA PRODUCTIONS
AROMA MANI
094471-69996
SWARGA CHITRA
P.D.APPACHAN
9846096669
MADHU AMBAT
PRODUCTIONS
MADHU AMBAT
99401-66566
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Key Film Industry Contacts
242 India Film Guide 2015
FILM & TV GUILD MEMBERS
Name Production House / Banner Email Address
A.G Nadiadwala M/s A.G. Vision LLP [email protected]
Aamir Khan M/s Aamir Khan Productions Pvt. Ltd.
Aashish Singh M/s Yash Raj Films Pvt. Ltd. aashish@yashrajfi lms.com,
Abhay Chopra M/s B. R. Filmsabhaychopra@brfi lmsindia.com
Abhay Chopra M/s. B R Films Pvt. Ltd.abhaychopra@brfi lmsindia.com
Abhay Chopra M/s. B R TV abhaychopra@brfi lmsindia.com
Abhinav Shukla M/s Nautanki Films Pvt. Ltd. abhinav@nautankifi lms.com
Ajay Bijli M/s PVR Pictures [email protected], [email protected]
Ajay Goel M/s Goel Cine Corporation [email protected]
Ajhai Acharya M/s Baba Arts Limited [email protected]
Ajit AndhareM/s Viacom 18 Motion Pictures/ M/s Viacom 18 Media Pvt. Ltd.
Akkineni Nagarjuna Rao M/s Annapurna Studios Pvt. Ltd. [email protected]
Aly MoraniM/s Cineyug Media Entertainment Pvt. Ltd.
Aman GillM/s Gill Pictures Entertainment Pvt. Ltd.
Amit Khanna M/s Filmunit [email protected]
Amitabh Bachchan M/s A B Corp Limited [email protected]
Anil Kapoor M/s Anil Kapoor Films Co. Pvt. Ltd. [email protected]
Anupam Kher M/s Actor Prepares [email protected],[email protected]
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Key Film Industry Contacts
Cannes Film Market 243
Anushka Sharma/Karnesh Sharma
M/s Clean Slate Films Pvt. Ltd. karnesh@cleanslatefi lms.in
Arun PandeyM/s Inspired Entertainment Pvt. Ltd.
Asheesh ChatterjeeM/s Reliance Broadcast Network Ltd.
Ashim Samanta M/s Aradhana Films [email protected]
Ashim Sen M/s Masen Production Pvt. Ltd. [email protected]
Ashish BhatnagarM/s IDream Motion Pictures Pvt. Ltd.
Ashok Thakeria M/s Maruti International [email protected],[email protected]
Ashutosh GowarikerM/s Ashutosh Gowariker Productions Pvt. Ltd.
[email protected];[email protected], [email protected]
Asitkumarr Modi M/s Neela Telefi lms Pvt. Ltd. asitmodi@neelatelefi lms.com
Bhushan KumarM/s Super Cassettes Industries Ltd.
[email protected],[email protected]
Boney KapoorM/s BSK Network and Entertainment Pvt. Ltd.
Cushru P Shroff M/s Lin-TV Advertising Pvt. [email protected]
D Suresh Babu M/s Suresh Productions (P) [email protected],[email protected]
Denzil DiasM/s Warner Bros. Pictures (India) Pvt. Ltd.
Dheeraj Kumar M/s Creative Eye Ltd. [email protected]
Dr. Bhupendra Kumar Modi
M/s Spice Corp [email protected], [email protected]
Ekta KapoorM/s Balaji Films Ltd. / Ms Balaji Motion Pictures Ltd.
Farhan Akhtar M/s Excel Entertainment Pvt. [email protected],[email protected]
G B Aayeer M/s Saregama India Limited [email protected]
Govind Nihalani M/s Udbhav Dreamzone Pvt. Ltd. [email protected]
Guneet Monga/Achin Jain M/s Sikhya Entertainment Pvt. Ltd. [email protected]
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Key Film Industry Contacts
244 India Film Guide 2015
Himanshu MehraM/s Movie Temple Productions Pvt. Ltd.
Hiren Gada M/s Shemaroo Entertainment Ltd. [email protected]
J Om Prakash M/s Filmyug Pvt. Ltd. fi [email protected], [email protected]
J.P.Dutta M/s J. P. [email protected],jassi@jpfi lms.net
Jyotin Goel M/s Goel Screencraft [email protected]
Kalyaan Guha M/s Film Farm India Pvt. Ltd. [email protected]
Kamal Kumar Barjatya M/s Rajshri Pictures Pvt. [email protected], [email protected]
Kamna Menezes M/s SOL Productions Pvt. Ltd. [email protected]
Karan Johar M/s Dharma Productions Pvt. Ltd.
Ketan Anand M/s Himalaya Films [email protected]
Kiran V Shantaram M/s V Shantaram Productions Pvt. Ltd.
Kumar Taurani M/s Tips Industries Ltd. [email protected]
Kunal Kohli M/s Kunal Kohli Productions Pvt. Ltd.
[email protected], [email protected]
Madhu Mantena/Vikas Bahl/Ashwatha Aaron Naik
M/s Phantom Films Pvt. Ltd.,[email protected],[email protected],[email protected]
Manish Goswami M/s Siddhant Cinevision Ltd. [email protected]
Manmohan Shetty M/s Walkwater Media Ltd.
[email protected],[email protected]
Milan Luthria M/s Vertex Motion Pictures Pvt. Ltd. [email protected]
Mohan Kumar M/s Emkay Films Pvt. Ltd emkayfi [email protected]
Mohan Umrotkar M/s Reliance Mediaworks Ltd. [email protected]
Mrinal Sen [email protected]
Ms. Madhu BhojwaniM/s Emmay Entertainment & Motion Pictures LLP,
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Key Film Industry Contacts
Cannes Film Market 245
Mukesh Bhatt M/s Vishesh Entertainment Pvt. Ltd.
mukesh.bhatt@visheshfi lms.com,sb@visheshfi lms.com,gilbert@visheshfi lms.com
Mukesh Bhatt M/s Vishesh Films Pvt. Ltd.
mukesh.bhatt@visheshfi lms.com,sb@visheshfi lms.com,gilbert@visheshfi lms.com
N P Singh M/s Multi Screen Media Pvt. [email protected],[email protected]
Neeraj RoyM/s Hungama Digital Media Entertainment Pvt. Ltd.
Nikhil AdvaniM/s Emmay Entertainment Pvt. Ltd.
Nina Lath GuptaM/s National Film Development Corp. Ltd
Nishi Prem M/s Paanch Rupaiya Bara Aana (PRBA) Productions Pvt. Ltd.
[email protected],[email protected]
Nitin RaghuvanshiM/s Sahara One Media & Entertainment Ltd.
Nuzhat Khan M/s Nasir Husain Films Pvt. Ltd. nasirhusainfi [email protected]
Prakash Jha M/s Prakash Jha [email protected],[email protected]
Prateek Chakravorty M/s Pramod Films pramodfi [email protected]
Prem Sagar M/s Sagar Entertainment [email protected],[email protected]
Priti Shahani M/s Junglee Pictures Limited [email protected]
Pritish NandyM/s Pritish Nandy Communications Ltd.
Rahul JohriM/s Discovery Communications India
Raj Kumar Kohli M/s Shankar Movies
Rajan Shahi/Ranjit Agrawal
M/s Director's Kut Production [email protected]
Rajesh Mishra M/s UFO Moviez India [email protected]
Rajith Menon M/s Amalgam Entertainment, [email protected]
Rajiv Rai Sachdev M/s Trimurti Films Pvt. Ltd. info@trimurtifi lms.com
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Key Film Industry Contacts
246 India Film Guide 2015
Rajkumar Hirani/Sanjiv Kishinchandani/Dileep Desai
M/s Rajkumar Hirani Films Pvt. Ltd.
Rakesh Roshan M/s Filmkraft Productions (India) Pvt. Ltd.
fi [email protected],[email protected]
Ramesh Prasad M/s Prasad Productions Pvt. [email protected],[email protected]
Ramesh Sippy M/s R. S. Entertainment Pvt. Ltd. [email protected]
Randhir Kapoor M/s R. K. Films & Studios randhirkapoor@rkfi lms.net
Randhir Kapoor M/s R. K. Films & Studios Pvt. Ltd. randhirkapoor@rkfi lms.net
Ratan JainM/s Venus Worldwide Entertainment Pvt. Ltd.
[email protected],[email protected]
Renu Ravi Chopra M/s B.R. Studios LLP renuchopra@brfi lms.in
Ritesh Batra/Ms. Seher Latif
M/s Poetic License Motion Pictures Pvt. Ltd.
[email protected]; [email protected]
Rohit KhattarM/s Mumbai Mantra Media Limited
Romu N Sippy M/s Rupam Pictures Pvt. Ltd. [email protected]
Sabbas JosephM/s Wizcraft International Entertainment Pvt. Ltd.
[email protected]; [email protected]
Sajid NadiadwalaM/s Nadiadwala Grandson Entertainment Pvt. Ltd.
[email protected],[email protected]
Salman Khan/Amar Butala/Garima Mehta
M/s Salman Khan Ventures Pvt. Ltd.
[email protected],[email protected],[email protected]
Sameer RattonseyM/s Cinema Paradiso Entertainment Pvt. Ltd.
Samir Gupta M/s Cinema [email protected],[email protected]
Sandeep Singh Bedi M/s Kaleidoscope Ent. Pvt. Ltd [email protected]
Sanjeev LambaM/s Reliance Entertainment - Division of Reliance Big Entertainment Pvt. Ltd.
Shah Rukh Khan M/s Red Chillies Entertainments Pvt. Ltd.
[email protected],[email protected]
Shakti Sagar Chopra M/s Fable Tree Pictures Pvt. Ltd. [email protected]
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Key Film Industry Contacts
Cannes Film Market 247
Shaukat KhanM/s Mehboob Productions Private Ltd.
Sheetal Talwar M/s. WSG Pictures Pvt. Ltd. [email protected]
Shhyam Singhania [email protected]
Shiamak DavarM/s Shiamak Davar International (India) Ltd.
[email protected], [email protected]
Shiv Surinder Kumar/Sanjana Chopra
M/s The Bombay Film Company Ltd.
Shridhar SubramaniamM/s Sony Music Entertainment India Pvt. Ltd.
Shyam BenegalM/s Shyam Benegal Sahyadri Films
Siddharth Roy Kapur M/s UTV Software Communications Ltd.
[email protected],[email protected]
Sidhartha M Jain M/s IRock Media Pvt. [email protected],[email protected]
Sourav Chatterjee M/s Planman Motion Pictures
[email protected],[email protected]
Srishti Arya M/s Rose Audio Visuals Pvt. [email protected],[email protected]
Subhash Ghai M/s Mukta Arts [email protected],[email protected]
Subhash Mukerji M/s Subodh Mukerji Productions [email protected]
Sujit Kumar Singh M/s Shreya Entertainment Pvt. Ltd.
[email protected],[email protected]
Suneil Anand M/s Navketan (1978) [email protected]
Suniel Anand M/s Navketan Films [email protected]
Suniel AnandM/s Navketan International Films
Sunil DoshiM/s Alliance Media & Entertainment
Sunil Lulla M/s Eros International Media Ltd. [email protected]
Sunjoy WaddhwaM/s Sphereorigins Multivision Pvt. Ltd.
[email protected], [email protected]
Sushilkumar Agrawal M/s Ultra Distributors Pvt. Ltd. [email protected]
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Key Film Industry Contacts
248 India Film Guide 2015
Uday Shankar M/s Star India Pvt. Ltd. [email protected]
Uday SinghM/s Motion Picture Association (MPA) Of America
Umesh Mehra M/s Eagle Films Pvt. Ltd [email protected]
Umesh Shukla M/s Benchmark Pictures Pvt. Ltd. [email protected]
Uttam Jhavar M/s Morya Arts Pvt. [email protected],[email protected]
Vaibhav AnandM/s Vaibhav Vijay Anand Pictures
Varjinder ChhabraM/s Anand Sagar Media And Entertainment Pvt. Ltd.
[email protected], [email protected]
Vidhu Vinod Chopra M/s Vinod Chopra Productions
[email protected];[email protected], [email protected],[email protected]
Vijay SinghM/s Fox Star Studios India Pvt. Ltd.
[email protected],[email protected]
Vikram Bhatt/ Anjukumar Bishnoi
M/s ASA Production & Enterprises Pvt. Ltd.
Vipul Amrutlal ShahM/s Block Buster Movie Entertainers
"[email protected],[email protected]"
Vipul D. Shah/Sanjiv Sharma
M/s Optimystix Entertainment India Pvt. Ltd.
Vishal Bharadwaj M/s Vishal Bhardwaj Pictures Pvt. Ltd.
[email protected],[email protected]>
Vivek Singhania M/s Picture Perfect [email protected]
M/s TV18 Broadcast [email protected]
M/s Tilak Movies Pvt. Ltd.
M/s Prakash Mehra Pictures P. Ltd. [email protected]
M/s V R Pictures
M/s Sippy Films Pvt. Ltd.subhash@sippyfi lms.com, [email protected]
For Complete List of Film & T.V. guild members:www.fi lmtvguildindia.org
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Key Film Industry Contacts
Cannes Film Market 249
ASSOCIATIONS & INDUSTRY BODIES
Film Federation of India
supransen.fi [email protected]
The Film & TV Producers Guild of India
kulmeet@fi lmtvguildindia.org
Indian Council of IMPEX for fi lms and TV Programmers
Federation of Indian Chambers of Commerce and Industry
leena.jaisani@fi cci.com
Confederation of Indian Industry
Associated Chambers of Commerce and Industry of India
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Key Film Industry Contacts
250 India Film Guide 2015
ASSOCIATIONS AFFILIATED TO FILM FEDERATION OF INDIA
Association President Email Address
Andhra Pradesh Film Chamber of Commerce
Mr. N. V. Prasad info@apfi lmchamber.com
Akhil Bharatiya Marathi Chirtrapat Mahamandal
Mr. Vijay Vishnu Patkar
Bihar & Jharkhand Motion Pictures Association
Dr. Sunil Kumar [email protected]
Central Circuit Cine Association Mr. J. P. Chowksey [email protected]
Cinema Owners & Exhibitors Association of India
Mr. Nitin Datar [email protected]
Chennai City Film Exhibitors Association
Mr. Sv Rm Ramnathan
Eastern India Motion Pictures Association
Mr. Shrikant Mohta shrikant@venkateshfi lms.com
Film Makers Combine - Chairman Mr. T.P. Aggarwal / Mr. Sangram Shirke
indiafi [email protected]
Film & Television Producers Guild of South India
Indian Council of Impex for Films & TV Programmers
Mr. Hirachand Dand [email protected]
Indian Documentary Producers Association
Mr. Mike Pandey [email protected]
Indian Motion Picture Producers Association
Mr. T. P. Aggarwal [email protected]
Kerala Film Chamber of Commerce Mr. K Nanda Kumar [email protected]
Karnataka Film Chamber of Commerce Mr. Thomas D’souza [email protected]
Kannada Film Producers Association Mr. Munirathna [email protected]
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Key Film Industry Contacts
Cannes Film Market 251
Kinematograph Renters Society Pvt. Ltd,
Motion Pictures Association Mr. Sakshi Mehra [email protected]
Motion Pictures Association of America Inc.
Mr. Uday Singh [email protected]
South Indian Film Chamber of Commerce
Mr. Shashi Balakrishnan
South Indian Film Exporters Association
Tamil Film Produces Council Mr. Thanu [email protected]
Tamilnadu Film Chamber of Commerce Mr. Abirami Ramanathan
Telugu Film Producers Council, Hyderabad
Mr. B. Shivaram Krishna
Telugu Film Producers Council, Chennai Mr. Edida Nageshwara Rao
The Indian Motion Picture Distributors Association
Mr. Ramesh Sippy [email protected]
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Key Film Industry Contacts
252 India Film Guide 2015
INDEPENDENT FILMMAKERS-PRODUCERS
ALAN MCALEX
Jar pictures
AMIT CHHEDA
Shethia audio video pvt. Ltd.
ANAND RAMAYYA
Karma fi lm inc.
anand@karmafi lm.ca
ANUP SINGH
Saskia vischer productions
ARFI LAMBA
Bombay berlin fi lm production llp
arfi @bombayberlin.com
BIDHU BHUSHAN PANDA
Eleeanora images pvt. Ltd.
DAVID LOCKWOOD
Umbrella entertainment
DEEP SEHGAL
Avatar productions
deep@avatarfi lms.org
DEEPAK ASWANI
Handmade fi lms pvt ltd
FARHATULLAH BEIG
Honeybee media works
beig4fi [email protected]
GANDHARV SACHDEV
Celluloid entertainment pvt ltd
artecraftfi [email protected]
GAURI CHADHA
Chasing frames productions
GIRISH MALIK
One world fi lms pvt. Ltd.
girish@oneworldfi lms.in
GUNEET MONGA
Sikhya entertainment
HARISH AMIN
Speaking tree pictures pvt ltd
IMTIAZ BAROLIA
Zero gravity pictures
JAMAL DOUBA
Media link international
JASMINE JAISINGHANI
Iffl a
JULIA ROSENBERG
January fi lms
julia@januaryfi lms.ca
JUNAID MEMON
Nomad fi lms
junaid@nomadfi lmsindia.com
KATHARINA SUCKALE
Bombay berlin fi lm production
KAUSHIK MUKHERJEE
Overdose art pvt ltd
KAVEETA OBEROI KAUL
Kriya movies
MANJEET SINGH
Cinemanjeet creations
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Key Film Industry Contacts
Cannes Film Market 253
MANMEET SINGH
Vr fi lms & studios pvt ltd
MANU REWAL
Duniya vision / karma productions
NIKHIL MAHAJAN
Blue drop fi lms
NIKHIL SANE
Essel visionproductions ltd.
PARVIN DABAS
Very fi shy fi lms pvt ltd
veryfi shyfi [email protected]
PRAVESH BHARDWAJ
Medient studios india
RAJ AMIT KUMAR
Dark frames
RAJAN KHOSA
Elephant eye productions pvt. Ltd.
RAJESH JALA
The elements
RAJESH KUMAR JAIN
Krish movies
RAKESH MEHTA
Celluloid entertainment pvt ltd
RICKY SINHA
Khyati productionspvt. Ltd.
ROMAN JEDRKOWIAK
Adhd warsaw
RUPESH PAUL
Cinema verite
SAMIT KAKKAD
Akshara fi lms division
aksharafi [email protected]
SANDEEP KULKARNI
Kathakaar entertainment
SANJAY SURI
Anticlock fi lms
SHAHIN BAZIL
Century 21 visual media company
SHAZIA KHAN
Saffron fi lms
saffronfi [email protected]
SHRIHARI SATHE
Infi nitum productions
ssathe@infi nitum-productions.com
SUHRUD GODBOLE
Ime motion pictures
SUNIL DOSHI
Alliance media & entertainment pvt. Ltd
SUNIR KHETERPAL
Azure entertainment
SURESH K MENON
Motion fi lm picture inc
TAPAAS CHAKRAVARTI
Dq entertainment international limited
VASANTHAKUMAR
THIRUMAVALAVAN
Ajj fi lm services
VEENA BAKSHI
Shree narayan studios pvt ltd
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Key Film Industry Contacts
254 India Film Guide 2015
VIKRAM SHERMA
Cvs fi lms
VIVEK RANGACHARI
Dar media pvt.Td.
VIVEK RANGACHARI
Dar media pvt. Ltd.
XAVIER D’SOUZA
Shree narayan studios pvt ltd
MARAR
Kreasen
This is just an indicative list. If you are looking for
an independent fi lmmaker who is not included in
this list, or have any query, mail us at
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India at Cannes_Cover_with Spine_new.indd 2India at Cannes_Cover_with Spine_new.indd 2 30-04-2015 22:27:1230-04-2015 22:27:12
Ministry of Information & BroadcastingGovernment of India
Cannes Film MarketIndia Pavilion111 International Village RivieraMay 14-24, 2015
www.indiaatcannes.com
in partnership with
Ministry of Information & BroadcastingGovernment of India
MINISTRY OF INFORMATION AND BROADCASTINGGOVERNMENT OF INDIA
ROOM NO.107, FILMS WING, SHASTRI BHAVANDR. RAJENDRA PRASAD ROADNEW DELHI - 110 001 INDIA
Federation of Indian Chambers of Commerce and Industry
FICCI Federation House, Tansen MargNew Delhi, India 110001
Tel: +91-11-23738760www.fi cci.com
Directorate of Film FestivalsMinistry of Information & Broadcasting
Government of IndiaSirifort Auditorium Complex,
August Kranti Marg, New Delhi- 110049Tel: 91 11 26499371
www.dff.nic.in; www.iffi .nic.in
in partnership with
FILM GUIDEINDIA
www.makeinindia.com
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India at Cannes_Cover_with Spine_new.indd 1India at Cannes_Cover_with Spine_new.indd 1 30-04-2015 22:26:2030-04-2015 22:26:20