The highlights on Day 3 at IFFI include Miguel Gomes’ Grand Tour, Albert Serra’s Tardes de Soledad, Payal Kapadia’s All We Imagine As Light, Mahdi Fleifel’s To A Land Unknown and Scandar Copti’s Happy Holidays
Day 3 at the 55th edition of International Film Festival of India (IFFI), being held at Panaji (Goa) from November 20-28, shone with two masterfully crafted films already making waves in the global festival circuit. Portuguese director Miguel Gomes captivated audiences with Grand Tour, a period drama set in 1917 Rangoon (Burma), featuring a time-travel-inspired visual narrative and starring Gonçalo Waddington (as British civil servant Edward) and Crista Alfaiate (as his fiancée Molly). The film, which earned Gomes the Best Director prize at Cannes this year, stood out as a highlight.
Equally compelling was Spanish director Albert Serra’s Tardes de Soledad (Afternoons of Solitude), a documentary exploring a day in the life of Peruvian bullfighter Andres Roca Rey, which recently won the Golden Shell for Best Film at the San Sebastian Film Festival. These films, along with Payal Kapadia’s much-discussed All We Imagine As Light, captured the attention of cinephiles. In contrast, the Indian Panorama opener Swatantrya Veer Savarkar, heavily promoted by organisers, drew a limited and largely motivated audience.
Albert Serra’s Tardes de Soledad: The story of a celebrated bullfighter
Miguel Gomes’ Grand Tour distinguishes itself through its bold artistic vision and masterful storytelling. The screenplay — a collaboration between Mariana Ricardo, Telmo Churro, and Maureen Fazendeiro — blends historical depth with creative innovation, crafting a narrative that both enlightens and captivates. In its visual approach, the film creates striking contrasts, merging black-and-white scenes from 1917 with vivid modern footage. The choice to present contemporary cities in monochrome cleverly bridges historical moments with present-day settings, creating a seamless flow between eras.
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This thoughtful fusion of past and present reveals an enduring truth: while borders and identities shift with time, a place’s essential spirit remains constant through the ages. Albert Serra’s documentary is a visceral and polarising work, shocking in its raw portrayal of a contentious subject of the life of a celebrated bullfighter yet mesmerising in its artistic execution. His lens brings a brutal, almost sacred quality to the narrative, making it as fascinating as it is troubling. The film is monumental in scope, offering a tragic, heartbroken, yet undeniably beautiful portrayal that leaves a lasting impression on viewers. Its dazzling visuals and hypnotic sound design elevate it to a unique cinematic experience that demands to be seen to fully grasp its complexity.
However, this very intensity may alienate some viewers. The film’s brutal honesty and refusal to take a clear moral stance could feel unsettling or even exploitative to those looking for a more compassionate perspective. Its graphic depictions may be too harrowing for some, blurring the line between necessary realism and gratuitous shock value.
The documentary also risks polarising its audience. It has the potential to generate significant discontent among both bullfighting advocates and animal rights activists — neither camp may find their views validated. For those seeking a balanced or nuanced exploration, the film might come across as overly stylised, prioritising artistic merit over ethical reflection. While undeniably powerful, its divisive nature ensures it won’t resonate with everyone.
Payal Kapadia’s All We Imagine About Light draws droves
In the present Indian political context, it was a bit ironic that the film depicting the killing of a bull (cow) was shown parallel to the controversial Swatantrya Veer Savarkar in adjacent auditoriums. On the one hand, a film depicting the killing of a bull touches on a subject deeply entwined with debates over animal rights, cultural practices, and political symbolism in India. On the other hand, the controversial Swatantrya Veer Savarkar centres on the life of a figure who remains divisive in Indian history, meaning different things to different groups — from a staunch Hindutva proponent to a freedom fighter with a complex legacy.
Also read I IFFI diary, day 2: Robbie Williams’ biopic gets mixed response, no tribute to Uma Dasgupta
The irony stems from the contrasting connotations these films bring: the cow being a revered symbol in Hinduism, often politicised in contemporary discourse, and Savarkar, who is associated with the ideological roots of Hindutva, being featured almost side by side with a narrative that challenges or subverts these very symbols.
As it prepares for its theatrical release on November 22, Payal Kapadia’s All We Imagine As Light drew a huge crowd in Panaji. The queue for the morning show at Inox was exceptionally long, with people eagerly awaiting a chance to watch it. This comes at a time when Hansal Mehta’s post on X highlighted that there are no OTT takers yet for this internationally acclaimed film, despite the accolades it has won, including recognition at Cannes.
Refugee dramas appear to be among the most sought-after subjects in film circuit cinemas these days, much like the Second World War and the fall of the Berlin Wall were a couple of decades ago. Two films narrating stories from the conflict-ridden Middle East stood out during the day. To A Land Unknown, directed by Mahdi Fleifel, set in Athens, portrays the struggles of two cousins from Palestine on their journey to Germany, a classic depiction of the refugee experience. Meanwhile, Happy Holidays by Scandar Copti, set in Haifa, Israel, also touches upon the ongoing crisis. While the film primarily delves into familial conflicts between Arab and Jewish inhabitants of Haifa, it subtly addresses the broader tensions of the region.
