IFFI kicks off with the screening of ’Better Man’, Michael Gracey’s biopic of Robbie Williams; no homage to Uma Dasgupta, Durga of Satyajit Ray’s ‘Pather Panchali’, who remains iconic in world cinema
Uma Dasgupta, who immortalised the character of Durga in Satyajit Ray’s Pather Panchali, passed away on November 18, 48 hours before the commencement of the 55th edition of India’s premier film festival. When Pather Panchali premiered in 1955, it marked India’s entry onto the global cinematic stage, with Durga’s character capturing the struggles and joys of rural life with authenticity and simplicity. Her charm, vivacity, and tragic arc resonated deeply with audiences and critics alike, cementing her place as a landmark figure in world cinema.
One would have expected any gathering — especially an international film festival organised by a government body — to pay homage to her. At the very least, a mention of remembrance seemed inevitable. However, at the inaugural session of the International Film Festival of India (IFFI), not a single reference was made in her memory. It was real shocker for me to witness this omission, as Bollywood starlets Bhumi Pednekar and Abhishek Banerjee as anchors of the show performed a poorly scripted presentation.
No reference to diversity
One might have wondered what a spiritual leader and Art of Living exponent like Sri Sri Ravi Shankar was doing at the inaugural event of a film festival. However, it became clear later in the programme that his presence was linked to his upcoming biopic. Produced by Mahavir Jain and set to be released in Spanish and other languages, the biopic is part of an India-Colombia government collaboration pegging on Sri Sri Ravi Shankar’s role in resolving Colombia’s devastating 52-year civil war. The artistic or cinematic relevance of such a project at a film festival is something only the organisers can explain.
The event began with a predictable choice: the stage coming alive with Bharat Vandana, a dance performance set to a medley of devotional songs. The repertoire included Ik Omkar, MS Subbulakshmi’s iconic Vishnu Sahasranamam, and invocations of Shiva, Ganpati, Rama, and Krishna, weaving together a tapestry of spiritual and cultural heritage. The routine briefly touched on Buddhism before transitioning to the familiar invocations of the Hindu Gods, accompanied by the chants of Bharat Mata ki Jai and Ganpati Bappa Morya from the audience, demanded by the show anchors.
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However, the performance conspicuously avoided any references to India’s broader cultural diversity. By presenting Hinduism — and to a lesser extent, Buddhism — as the entirety of “our cultural heritage,” it undermined the nation’s tradition of unity in diversity. Given the current cultural and political climate, though, this narrow portrayal of heritage at the IFFI was hardly surprising. On the other hand, the festival director, filmmaker Shekhar Kapur, was thinking loudly about sharing stories in a polarised world. “In this polarised world — within nations, within communities — the only way we truly connect is by sharing our stories. Stories are how we relate to each other, how we perceive one another. This exchange must continue, and so must the tradition of holding film festivals,” he said.
Actor Nagarjuna and Festival Director and filmmaker Shekhar Kapur
The opening film: Better Man by Michael Gracey
On the inaugural day, the host city had a slightly different vibe that the previous occasions this time. The key change was the decentralisation of screening venues. While screenings outside Panaji were included in previous editions, the number of such venues has increased significantly this year, with Margao, Porvorim, and Ponda added to the list.
This edition of IFFI puts the spotlight on Australia as the Country of Focus, presenting a curated film package and fostering closer ties with India through a memorandum of understanding between Screen Australia and the NFDC. The festival opened with the Australian film Better Man by Michael Gracey, which offers an engaging exploration of the life and career of British pop sensation Robbie Williams, a film that evoked mixed response.
“The film is not a biopic per se, but it resonated well with the audience here. It had that typical Oscar-like feel, with the protagonist’s life portrayed in a loud, dramatic manner,” remarked Mirash Khan, an associate director and upcoming filmmaker from Kerala. For many in the audience, the film’s open-minded approach infused it with a unique energy — snarky yet emotional, thoughtful without becoming overly heavy. Its tone struck a balance, engaging viewers with its depth while maintaining a sense of lightness.
