The Cannes Film Festival, an annual congregation of cinematic excellence and innovation, is once again on the horizon, ready to roll out the red carpet from May 14 through May 25, 2024. This year, the festival is abuzz with particular excitement for Indian cinema, as it marks a historic moment with seven Indian films slated for screening, including an entry in the main competition after a span of three decades.
Leading the charge is Payal Kapadia’s ‘All We Imagine As Light’, an Indo-France co-production and a narrative centered on two Kerala nurses in a Mumbai nursing home. The film casts Kani Kusruti and Divya Prabha in pivotal roles and heralds India’s return to the prestigious Palme d’Or main competition category. Last witnessed in 1994 with ‘Swaham’, this selection renews India’s stake in cinematic prestige at Cannes. Kapadia’s entrant will be screened alongside projects from celebrated auteurs such as Francis Ford Coppola and Yorgos Lanthimos, highlighting a convergence of global filmmaking giants.
Joining the esteemed lineup is Karan Kandhari’s ‘Sister Midnight’, which finds its place in the Directors’ Fortnight category. While details remain under wraps, the film’s inclusion in this illustrious segment speaks to its anticipated quality and artistic merit.
Another addition is Sandhya Suri’s ‘Santosh’, representing British-Indian filmmaking in the Un Certain Regard section. The narrative focuses on a family wrestling with the echoes of a tragedy, navigating the complex terrains of grief, memories, and the intricacies of human connections.
Maisam Ali’s ‘In Retreat’ secures a spot in the ACID section, exploring notions of home and belonging with the backdrop of a man on a one-night pilgrimage upon returning to his hometown after many years.
Auroshikha Dey, known for her role as Jhalkari Bai in ‘The Warrior Queen of Jhansi’, embarks on a fresh journey to the festival with ‘The Shameless’, directed by Konstantin Bojanov and set to premiere in the Un Certain Regard section. The Shameless unfolds the tale of a young woman’s flight from a brothel in Delhi to a sanctuary amongst a community of sex workers. Anasuya Sengupta portrays the protagonist in this intense narrative. Dey describes the thoughtful process behind her portrayal of Durva, evidencing the rigorous character development that underpins the film’s storytelling prowess.
The festival will also witness a cinematic resurrection of sorts, with Shyam Benegal’s 1976 iconic work ‘Manthan’ meticulously restored for a contemporary audience. Reviving India’s ‘White Revolution’, the film’s restoration ensures its narrative and cultural significance can be experienced anew.
Last but not least, the student body from the Film and Television Institute of India (FTII) in Pune presents ‘Sunflowers Were The First To Know’, directed by Chidanand Naik. This short film, arising from the institute’s TV-wing project, will compete in the La Cinef category against 17 other shorts for a chance to clinch one of the prestigious La Cinef awards. The project demonstrates the prodigious talent emerging from India’s film education sector, with Suraj Thakur handling cinematography, Manoj V heading the editing team, Abhishek Kadam as the sound designer, and Pranav Khot in charge of production design.
The spotlight is undeniably on Indian cinema at Cannes 2024, as these diverse narratives from the nation’s vast cultural and ideological spectrum come together to create a compelling showcase of India’s cinematic evolution and its burgeoning global footprint in the realm of film.
