30 years on, how IFFK remains centered on perspectives of the oppressed

The just concluded 29th International Film Festival of Kerala (IFFK), started with a new signature montage casting a luminous spotlight on a forgotten chapter of Kerala’s cinematic history. The one-minute sequence celebrated the journey of Malayalam cinema through the extraordinary lens of PK Rosy, the language’s first actress, who was once cast out and silenced by casteist prejudice.

Ninety-four years after her trailblazing debut, Rosy’s resolute gaze filled the theatre, transforming a legacy of marginalisation into a moment of cultural triumph. Her penetrating eyes seemed to bridge the past and present, reclaiming a story long buried under systemic silence. By placing Rosy at the heart of its signature montage, IFFK didn’t merely celebrate cinema; it honoured an artistic reckoning, turning her personal tragedy into a powerful narrative of resilience and reclaiming a vital piece of Kerala’s cinematic heritage.

Kerala’s International Film Festival was started in 1994 after an edition of the International Film Festival of India (IFFI), held in Thiruvananthapuram in 1988, under the name Filmotsav. It was the first film festival to be organised by a state government in the country, which was followed by West Bengal the next year. The participation was astonishing, leading the government to consider curating a festival of its own. The first edition of the festival was conducted from December 17 to 23 in Kozhikode in 1994.

The children’s film festival that followed the 1988 Filmotsav served as another key inspiration. The idea wasn’t a sudden impulse but rather the culmination of a gradual process, supported by the strong foundation laid by various film societies in the state. Such was the vibrancy of the film society movement in Kerala that a unique festival showcasing 100 films was organised in Thiruvananthapuram by the Soorya Stage and Film Society to mark the centenary of world cinema. The inaugural Kerala film festival operated on a modest budget of just ₹6 lakh. It featured an impressive lineup, including 20 films from the National Film Archives and NFDC productions. In the pre-digital era, embassies like those of Cuba and Colombia extended their support to bring films to the festival, overcoming the significant logistical challenges of transporting physical film reels.

The inaugural festival featured films curated under distinct sections such as Landmarks of World Cinema, Contemporary World Masters, Landmarks of Indian Cinema, and Focus on Latin America. Popular packages included retrospectives of legendary filmmakers Akira Kurosawa, Charlie Chaplin, and Andrzej Wajda, which drew significant attention. By the second edition, the festival had a substantially increased budget of ₹25 lakh and was held in Thiruvananthapuram, solidifying its standing as a significant cultural event in the state.

The IFFK achieved a significant milestone in 1999 when it was accredited by the International Federation of Film Producers' Associations (FIAPF) as a competitive specialised film festival with a competition section for Asian African and Latin American films, further elevating the festival’s profile on the global stage.

“It was late PK Nayar, who had been the director of the National Archives, who mooted the idea that our festival should focus on Afro-Asian-Latin American films and that the competition should be for those countries, as opposed to the European competitions that occur in all the important festivals,” recalls Meera Sahib who had been the director of publicity of the initial festivals.

The festival was launched under the leadership of the Congress-led United Democratic Front (UDF), with K. Karunakaran serving as the chief minister at that time. This marked the beginning of an important cultural event in Kerala’s cinematic landscape. Now, as the festival celebrates its 30th edition under the current Pinarayi Vijayan-led Left Democratic Front (LDF) government, it is remarkable to note that the festival's core character has remained largely consistent over the years. This continuity can be attributed to the sensibility and dedication of Malayali filmmakers and cinephiles, who have been instrumental in shaping the festival as its organisers and participants.

Over its three-decade history, the festival has been held 18 times under the Left government and 12 times under the UDF government, reflecting its evolving political and cultural context. In 1998, a significant transition occurred when the Kerala State Chalachitra Academy assumed responsibility for organising the festival, taking over from the Kerala State Film Development Corporation (KSFDC) following its inception.

“Obviously, the IFFK was modelled after India’s International Film Festival (IFFI), a Nehruvian-era initiative. However, the two festivals evolved differently in character. While the IFFI drifted from its original goals—eventually falling under bureaucratic control and now leaning towards right-wing dominance under the BJP—it still screens films from the international circuit to maintain its FIAPF accreditation,” opines GP Ramachandran, the National Award-winning film critic.

The emphasis on non-European films defined the character of the IFFK in a way that many other festivals lacked. This focus fostered a political vision that centred on the perspectives of the oppressed. As a result, numerous Third World films found their platform and destination at IFFK, showcasing stories that resonate with the struggles and experiences of marginalised communities.

“Apart from the depth of content and meticulous organisation, one major strength of IFFK in comparison with other festivals in the country and elsewhere is the nature and level of local participation. Cineastes from all over the state and country throng this festival to make it a memorable and festive occasion. In no other festival could one find such passionate involvement, both for viewing films and also for active engagement with filmmakers and artists,” wrote Dr. CS Venkiteswaran the national award-winning film critic, in the editorial note of a festival souvenir published in 2014.

The concept of the open forum was a defining feature of the IFFK, providing a platform for serious discussions on cinema.

“I remember there was a time when the organisers decided to do away with the open forum. However, film buffs protested by organising a parallel open forum, which was attended by stalwarts like Adoor Gopalakrishnan. This compelled the organisers to reinstate the forum,” recalls GP Ramachandran.

The open forum at IFFK has always served as a platform for serious political discussions surrounding cinema. One of the most notable exchanges occurred in 1998 between CPI(M) ideologue P. Govinda Pillai and Polish filmmaker Krzysztof Zanussi, focusing on the impact of communism on people’s lives. During the discussion, P. Govinda Pillai condemned the Polish people's decision to abandon communism, while Zanussi retorted, “We have had enough of you, and I am not taking lessons from an Indian Marxist.” This encounter highlighted the festival’s role in facilitating critical dialogues about political ideologies and their implications in the cinematic context.

The Kerala Film Festival is not just about films; it encompasses the entire festival atmosphere. It creates a vibrant space for the youth to engage and celebrate their vitality alongside established filmmakers, fostering discussions, camaraderie, and friendship that are lively and dynamic. This environment quickly evolved into a celebratory gathering, becoming an annual meeting place for like-minded, creative individuals who share a passion for cinema and the arts.

“My first film festival experience was in 2001. At that time, I was a university student in Thiruvananthapuram, and my boyfriend was in Chennai. For us, it was a rare opportunity to be together, watch movies of our choice, interact with friends, drink, and enjoy life. In a conservative society like ours, that too two decades ago, it was something far from our imagination. Even in my mid-forties, I will always cherish those couple of years of IFFK, where we shaped our lives,” said Swetha Mariyam, a 45-year-old accounting professional living in New Zealand, while reminiscing about the film festival during a Skype interview with The Federal.

The delegate passes were issued to a select few in the initial editions of the festival. The Film Societies Federation of India was responsible for the screenings to identify cinephiles and film buffs. Art house cinema enthusiasts with a background in film society activism were among the luckiest attendees. The inaugural film festival attracted approximately 2,000 delegates, creating a modest but enthusiastic gathering of cinema lovers. Over the past three decades, however, the festival has experienced remarkable growth, now drawing more than 15,000 attendees, with a significant proportion being students. This surge in participation reflects the increasing popularity of cinema among younger audiences, who are eager to engage with diverse films and filmmakers.

As the festival has expanded, the role of traditional film society activists has diminished. In the early years, these activists were instrumental in promoting art house cinema and curating a space for cinephiles to explore lesser-known films. However, the rise of digitalisation and the globalisation of film viewing, particularly with the advent of the internet, has transformed how audiences consume cinema. Streaming platforms and online film communities have made a vast array of films accessible to a wider audience, reducing the prominence of local film societies that once played a central role in the festival's framework.

Despite these changes, the festival continues to thrive, adapting to the evolving landscape of film consumption while maintaining its commitment to showcasing diverse cinematic voices. The influx of students and new audiences brings fresh energy and perspectives, ensuring that the festival remains a vibrant cultural event that celebrates the art of cinema in all its forms

The festival venue in Kerala has always been unique, serving not just as a space for cinematic appreciation but also as a platform for protest and demonstrations against various political and social issues worldwide. Unlike many film festivals that focus solely on film screenings and industry networking, the Kerala International Film Festival (IFFK) embraces a broader cultural engagement, encouraging participants to express their views on pressing global matters.

Throughout its history, the IFFK has witnessed delegates and participants actively demonstrating on issues ranging from tribal land rights to the Palestinian conflict and the invasion of Iraq.

This unique blend of cinema, activism, and community engagement sets the IFFK apart from other festivals, creating an experience that transcends traditional film appreciation. The festival has become a melting pot of ideas and a breeding ground for social change, where the power of film is harnessed to address critical global issues, making it a one-of-a-kind event that cannot be seen elsewhere.

The selection of films at the IFFK has consistently aligned with the festival's atmosphere of activism and social engagement. It is notable that no Kerala film festival has ever taken place without screening films that highlight the Palestinian cause. In addition to films focused on Palestine, the festival has embraced a diverse range of cinema from various regions, including Iranian, Maghreb (North African) countries, and Latin American films. This eclectic mix contributes to the festival's vibrancy, offering attendees a rich tapestry of narratives that explore different cultural contexts and social issues. These films often address themes of oppression, resistance, and identity, further enhancing the festival's role as a platform for dialogue and reflection on global challenges.

“The trend is changing very fast. You must have noticed, there were no such organic protests happening in the last couple of IFFKs. Specifically post COVID things have changed. The presence of a quasi-authoritarian government at the centre also has contributed. The policing even under the left government is also doing no good in that sense, opined Meera Jeevan a sociology student who has been participating in the IFFK for the last three years.

The change in the festival's scenario is evident to many film buffs and filmmakers, who have noted shifts in both the selection of films and the overall atmosphere of the event. While the IFFK has long been celebrated for its commitment to social issues and diverse voices, there is now a growing concern regarding the organisation of the festival itself.

Criticism has emerged from various quarters, highlighting issues such as logistical challenges, the quality of film curation, and the accessibility of the event for both filmmakers and attendees. Some participants feel that the festival has become more commercialised, potentially diluting its original focus on art house cinema.

The serious criticism of IFFK is that the festival fails to acknowledge the changing needs of contemporary filmmakers and aspiring talents. It continues to linger around traditional film exhibitions and seminars, neglecting the opportunities presented by the evolving landscape of cinema. This resistance to adapt has led to concerns that the festival is not providing the support and resources necessary for the new generation of filmmakers to thrive in an increasingly globalized and digital world.

“As someone who has long advocated for the establishment of a proper film market at IFFK, I recall that a detailed proposal was submitted to the Kerala State Chalachitra Academy and KSFDC. Last year's effort was nothing short of a farce, and while I initially felt optimistic about this year's expanded film market, the brochure is deeply disappointing. A genuine film market should provide filmmakers opportunities to connect with production companies, facilitate distribution, and allow regional films to be selected for international festivals,” says Dr. Biju, an internationally acclaimed film maker in Malayalam who is all set to shoot his coproduction venture, Papa Buka, the first-ever cinematic collaboration between Papua New Guinea and India.

“Instead, KSFDC is misrepresenting a series of seminars as a film market, misleading delegates and misusing public funds. KSFDC must either organise a true film market that meets industry standards or refrain from deceiving the public and squandering resources on superficial events,” he adds.

It’s noteworthy that while the IFFI is facing criticism for its right-wing shift and commercialisation—evidenced by even foreign jurors calling out the selection of propaganda films—Kerala’s festival takes pride in its political content. While the festival's standards may be debatable, it is important to recognise that, with a shoestring budget, no other state could successfully host such an event. The Kerala International Film Festival remains committed to showcasing films that engage with socio-political issues, setting it apart from other festivals that may prioritize commercial interests over meaningful content.

The IFFK 2024 operated on a budget of ₹8.6 crore, significantly lower than the IFFI's expenditure of over ₹45 crore. Both festivals showcased approximately 180 contemporary films; however, a notable contrast emerged: IFFK did not feature a single film deemed propaganda for the right wing in India. Instead, it presented numerous politically critical films that challenged various worldviews and celebrated diversity in all its forms. This commitment to inclusivity and critical engagement distinguishes the Kerala festival from its counterparts and reflects its dedication to showcasing a broad spectrum of perspectives in cinema.