{"id":9622,"date":"2026-02-03T11:38:48","date_gmt":"2026-02-03T11:38:48","guid":{"rendered":"https:\/\/www.aravalifilmfestival.in\/?page_id=9622"},"modified":"2026-02-26T07:28:29","modified_gmt":"2026-02-26T07:28:29","slug":"previous-edition-2024","status":"publish","type":"page","link":"https:\/\/www.aravalifilmfestival.in\/oldweb\/previous-edition-2024\/","title":{"rendered":"Previous Edition 2024"},"content":{"rendered":"

[vc_row css=”.vc_custom_1772090848800{margin-top: 56px !important;}”][vc_column][vc_custom_heading text=”Previous Edition 2024″ font_container=”tag:h1|font_size:42px|text_align:center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”2024 Award Winner” font_container=”tag:h2|text_align:center”][vc_column_text]

\n \n \n \n \n \n \n \n \n \n <\/colgroup>\n <\/table>\n \n \n \n<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Finalist films 2024″ font_container=”tag:h2|text_align:center”][vc_custom_heading text=”Note: E-Certificates will be sent by e-mail to the submitters after the event” font_container=”tag:p|text_align:center”][vc_column_text]
\n\t
\n\t\t\t
\n\t\t
\n \n
\n \n \"Those\n
\n
\n \t

Those Seven Steps<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Take\n
\n
\n \t

Take it Easy, Easy Does It<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"The\n
\n
\n \t

The 7th Night: MaoMao Revisits<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"President’s\n
\n
\n \t

President’s horse<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"SINIOLCHU\n
\n
\n \t

SINIOLCHU , the peak a man fell in love with<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Madan\n
\n
\n \t

Madan Veri – breath of the Ghasis<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"BETELGEUSE\"\n
\n
\n \t

BETELGEUSE<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Paper\n
\n
\n \t

Paper Dream<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Taashe\n
\n
\n \t

Taashe (a music instrument)<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Ramdeen\n
\n
\n \t

Ramdeen (Now & Then)<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"FAIRPLAY\"\n
\n
\n \t

FAIRPLAY<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Bonnes\n
\n
\n \t

Bonnes Vacances !<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Ink\n
\n
\n \t

Ink Drop<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"T\u00e9t\u00e8che\"\n
\n
\n \t

T\u00e9t\u00e8che<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"18h46\"\n
\n
\n \t

18h46<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Bittersweetness\"\n
\n
\n \t

Bittersweetness<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"One\n
\n
\n \t

One last breath<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Truthosis\"\n
\n
\n \t

Truthosis<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Flip\n
\n
\n \t

Flip Flop<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Edmond\n
\n
\n \t

Edmond Albius<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"D\u00e9barr\u00e9e\"\n
\n
\n \t

D\u00e9barr\u00e9e<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Bodies\n
\n
\n \t

Bodies and Souls : Inertia<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Rosalie\n
\n
\n \t

Rosalie & C\u00e9sar<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Forgetting\"\n
\n
\n \t

Forgetting<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"STIGMATE\"\n
\n
\n \t

STIGMATE<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Here\n
\n
\n \t

Here Lies<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Five\"\n
\n
\n \t

Five<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"UN-WOMAN\"\n
\n
\n \t

UN-WOMAN<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Lunatic\"\n
\n
\n \t

Lunatic<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"If\n
\n
\n \t

If I Were a Pony<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Walk\"\n
\n
\n \t

Walk<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Bran-Don\n
\n
\n \t

Bran-Don of the Dead<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"HOLY\n
\n
\n \t

HOLY TRAILS – THE TOUGHEST PILGRIMAGE<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"DESHKARI\"\n
\n
\n \t

DESHKARI<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Two\n
\n
\n \t

Two worlds<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Waking\n
\n
\n \t

Waking Up In Paradise<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Trees\"\n
\n
\n \t

Trees<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Tukdam:\n
\n
\n \t

Tukdam: Between Worlds<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"WORLD\n
\n
\n \t

WORLD WAR II: THE SHIPWRECKS OF TRUK LAGOON<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Pavitra Verma<\/td>\nDirector<\/td>\n<\/tr>\n
Pavitra Verma<\/td>\nWriter<\/td>\n<\/tr>\n
Aastha Verma<\/td>\nProducer<\/td>\n<\/tr>\n
Aishwarya Sonar<\/td>\nProducer<\/td>\n<\/tr>\n
Renu Razdan, Mita Vyas, Ben Holtzmuller,Alexandra Tejada,Yuvi Grewal,Joe Oulette,Ray Seigle,<\/td>\nKey Cast<\/td>\n<\/tr>\n
Sarah Winters<\/td>\nCinematographer<\/td>\n<\/tr>\n
Rashi Jain<\/td>\nProduction Design<\/td>\n<\/tr>\n
Caleb Kephart<\/td>\nArt Director<\/td>\n<\/tr>\n
Saloni Mahajan<\/td>\nCostume Design<\/td>\n<\/tr>\n
Mckenzie Kelly<\/td>\nMckenzie Kelly<\/td>\n<\/tr>\n
Lorenzo Eelen<\/td>\nOriginal Music Composer<\/td>\n<\/tr>\n
Priyabrata Panigrahi<\/td>\nSound Designer<\/td>\n<\/tr>\n
Elena Viklova<\/td>\nScript Supervisor<\/td>\n<\/tr>\n
Sharan Gupta, Abhilasha Fnu<\/td>\nAssistant Directors<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Take\n <\/div>\n \n
\n
\n

Take it Easy, Easy Does It<\/h2>

\u201cTake It Easy, Easy Does It\u201d<\/p>\n

Themes: Sustainable culture; Permaculture; social justice; ecopreneurship; rural livelihoods; community empowerment; environmental education<\/p>\n

TIEEDI (est. 2016)
\nSonada, West Bengal, India
\nis an ecological forest training center and farm that teaches the art of working with Mother Nature. TIEEDI focuses on permaculture, zero waste, experiential environment education, regenerative tourism, natural farming, decentralized waste management solutions, and sustainable land and building design consultation.<\/p>\n\n\n\n\n\n
Katie Conlon<\/td>\nDirector<\/td>\n<\/tr>\n
Katie Conlon<\/td>\nWriter<\/td>\n<\/tr>\n
Katie Conlon<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"The\n <\/div>\n \n
\n
\n

The 7th Night: MaoMao Revisits<\/h2>

According to Chinese custom, every soul will pay a last visit to their beloved family on the 7th night after they passed away. This is a story about a little boy waiting for the return of his lost beloved cat MaoMao.
\nWill MaoMao come back for her farewell? or has she forgoten about her owner?<\/p>\n

 <\/p>\n\n\n\n\n\n\n
ahLoong<\/td>\nDirector<\/td>\n<\/tr>\n
ahLoong<\/td>\nWriter<\/td>\n<\/tr>\n
Edmund Chan<\/td>\nProducer<\/td>\n<\/tr>\n
Raye Lee<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"President’s\n <\/div>\n \n
\n
\n

President’s horse<\/h2>

(Brief Synopsis )
\nYou are honored for your work.You are respected for your service.You are powerful for your post for your position.<\/p>\n

Never think that you are valuable from birth.Never think that you are more important than the people, more than the country, bigger than the earth, greater than God.Do not forget all your power given by the Constitution of the people of the country.You are God gifted.God means good.All the good things of this world.
\nSo do not enjoy your power.Be careful about your duty.Delay or negligence in your work can drop you down from your situation.Without superior or spiritual power, you are very normal like all of you.For a little mistake, you can lose your respect, strength, comfort and so on.So take care of your every step.Which provide you internal and external existence.<\/p>\n

 <\/p>\n\n\n\n\n\n
Allabhya Ghosh<\/td>\nDirector<\/td>\n<\/tr>\n
Allabhya Ghosh<\/td>\nWriter<\/td>\n<\/tr>\n
Partha Ghosh<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"SINIOLCHU\n <\/div>\n \n
\n
\n

SINIOLCHU , the peak a man fell in love with<\/h2>

The story revolves around fifty-year old Dawa who lives in his own world. His village is situated in the lap of the Himalaya. His infatuation is Siniolchu, the slender peak. If it shines he feels happy; if it is clouded he feels gloom. He considers his chickens as his near and dear ones. He talks with them and shares with Siniolchu. Villagers think he is imbecile. His only friend is a five-year old girl Maya and her puppy Bro. Their world is free from violation of anything on earth; it is bonded by compassion and love. Suddenly Bird Flu breaks out. Mere touch may cause death to a person drives the entire village panicked. Instructed by the village headman ravage goes on to throw them out of the village, virtually leading to death. Only Maya and Dawa try hard to save them. This leads to further catastrophe.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n
INDRANIL GHOSH<\/td>\nDirector<\/td>\n<\/tr>\n
DIPANWITA GHOSH MUKHOPADHYA<\/td>\nWriter<\/td>\n<\/tr>\n
KAN SINGH SODHA<\/td>\nProducer<\/td>\n<\/tr>\n
KAN SINGH SODHA<\/td>\nProducer<\/td>\n<\/tr>\n
RAGHUBIR YADAV, TIYASHA SAHA, PREM KUMAR PRADHAN,RIYA BHUJEL<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Madan\n <\/div>\n \n
\n
\n

Madan Veri – breath of the Ghasis<\/h2>

This Docu-Fiction film is a factual documentation of the struggle to preserve the culture & heritage of Madan Veri alias ‘Turi\u2019, a metallic blowing instrument producing a very loud and distinct sound, played by a singular sub- caste called ‘Ghasis’ during specific Hindu rituals or delivering some messages since centuries in the Manbhum region of the state of Jharkhand and West Bengal, India. It is tried to blur the distinction between fiction and documentary in this film
\nThe Ghasis (considered untouchables) are very poor. Their main occupation is playing Madan Veri besides animal husbandries (especially pig rearing) and working as agricultural laborers.
\nPeople of Manbhum believe that the loud sound of Madan Veri is a clarion call to the God from the earth, an appeal for all encompassing blessings starting from the long life of the newborn to the safe passage of souls after death. The Ghasis are generally called upon to play Madan Veri at rice ceremonies, marriage, funeral processions, Shraddh ceremonies etc.
\nHowever, with the advent of loudspeakers, orchestra and DJ music, Madan Veri has lost its importance and sheen. Hence, many Ghasis are trying new professions or moving to other states as migrant laborers, for lack of call for performing Madan Veri. Naturally Madan Veri players have reduced significantly, now it\u2019s hard to find one in need.
\nBut a few Ghasis remain still dedicated and sincere in holding on to this age-old family tradition fighting with poverty. Herein lies the eternal dilemma of an artist \u2013 to choose a settled well-paid profession or to pursue the traditional culture. Time will say whether this giant wind instrument survives or be lost forever.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Somnath Mondal<\/td>\nDirector<\/td>\n<\/tr>\n
Somnath Mondal<\/td>\nWriter<\/td>\n<\/tr>\n
Somnath Mondal<\/td>\nProducer<\/td>\n<\/tr>\n
Nilanjan Ganguly<\/td>\nKey Cast<\/td>\n<\/tr>\n
Srijeeta Banty Bhadra,Priyogopal Adhikary,Motkel (child )<\/td>\ncast<\/td>\n<\/tr>\n
Rabindra Nath Das<\/td>\nDOP<\/td>\n<\/tr>\n
Banamali Sarkar<\/td>\nEditor<\/td>\n<\/tr>\n
Abdul Rajjak<\/td>\nSound design & Mixing<\/td>\n<\/tr>\n
Kalyan Sen Barat, Jadav Majhi<\/td>\nMusic<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"BETELGEUSE\"\n <\/div>\n \n
\n
\n

BETELGEUSE<\/h2>

BETELGEUSE is a brightest star in the constellation Orion, marking the eastern shoulder of the hunter. It derives energy from the other stars in order to survive.
\nThis film is a journey of a girl, \u201cChitra\u201d, whose life is changed after an accident. Her career, her dreams are destroyed. The film depicts the choice that girl makes with the help of her family and some strangers meeting in the journey of life. She must fight to be a Betelgeuse. And once she is a Betelgeuse, the life becomes more meaningful and brighter.<\/p>\n\n\n\n\n\n\n\n
Sunder Konar<\/td>\nDirector<\/td>\n<\/tr>\n
Mayur Hardas<\/td>\nWriter<\/td>\n<\/tr>\n
Ramkumar K<\/td>\nProducer<\/td>\n<\/tr>\n
Mayur Hardas<\/td>\nProducer<\/td>\n<\/tr>\n
Gayatri Datar, Ankit Nayar<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Paper\n <\/div>\n \n
\n
\n

Paper Dream<\/h2>

The story of this film is about an albino teenage boy who falls in love with a young girl<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Ali Atshani<\/td>\nDirector<\/td>\n<\/tr>\n
Jaber Ghasemail<\/td>\nWriter<\/td>\n<\/tr>\n
Ali Atshani<\/td>\nProducer<\/td>\n<\/tr>\n
Sadra Doroudianhomayouni<\/td>\nProducer<\/td>\n<\/tr>\n
Kasra Doroudianhomayouni<\/td>\nProducer<\/td>\n<\/tr>\n
Hamed Feizidizaji<\/td>\nProducer<\/td>\n<\/tr>\n
Rana Nabavi<\/td>\nProducer<\/td>\n<\/tr>\n
Mahdi Moniri<\/td>\nProducer<\/td>\n<\/tr>\n
Mina Vahid, Amirhosein Rezazadeh, Kamran Tafti, Negar Mallaki, Elham Hamidi ( Einali ),<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Taashe\n <\/div>\n \n
\n
\n

Taashe (a music instrument)<\/h2>

Shiv Kothari ,a village boy of 8 years is not at all interested to learn taashe (a music
\ninstrument ) , his family and ancestral business. What changes him so suddenly that he becomes keen to learn
\ntaashe. Who changes him so much that he decides to play tashe professionally\u2026.. watch a unique love and marriage story of two kids\u2026<\/p>\n\n\n\n\n\n\n
Prakhar Shrivastava<\/td>\nDirector<\/td>\n<\/tr>\n
Prakhar Shrivastava<\/td>\nWriter<\/td>\n<\/tr>\n
Asha-Azad-Films<\/td>\nProducer<\/td>\n<\/tr>\n
Swastik Sharma, Pari Chourasia, Dr (Er) Azad Jain<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Ramdeen\n <\/div>\n \n
\n
\n

Ramdeen (Now & Then)<\/h2>

Year 2021 – Ramesh, a lower-middle class, middle-aged man, works as a gopher (peon) for the affluent and arrogant real estate tycoon Mr. Hemlaani’s passion project \u2013 an ad agency. Hemlaani is in the process of producing his dream film which is being developed by Damini, a young yet experienced screenwriter. The story of this dream film revolves
\naround Ramdeen, an honest and hardworking tailor from a small Indian village in the year 1965 who is hired by Laalaji, the wealthiest man in the village, to stitch Diwali clothes for his family.
\nThe film then alternates between Ramdeen’s life then versus Ramesh’s life now. While a timid and frustrated Ramesh is overworked but underpaid and unappreciated, Ramdeen is a polite, gullible man. How these economically and socially oppressed men are constantly taken advantage of by their bosses and how after relentless humiliation they both finally take a bold stand is what forms the crux of this hard-hitting
\nsocial drama.<\/p>\n\n\n\n\n\n\n\n
Dr (Er) Azad Jain<\/td>\nDirector<\/td>\n<\/tr>\n
Mr. Sudesh Jain<\/td>\nWriter<\/td>\n<\/tr>\n
Dr (Er) Azad Jain<\/td>\nWriter<\/td>\n<\/tr>\n
Dr (Er) Azad Jain<\/td>\nProducer<\/td>\n<\/tr>\n
Ishtiyak Khan, Dr (Er) Azad Jain, Anshu Varshney, Amit Vasuniya, Meenal Joshi, Shobhna Vispute<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"FAIRPLAY\"\n <\/div>\n \n
\n
\n

FAIRPLAY<\/h2>

A teenager in search of recognition, a worker ready to do anything to hit the jackpot, a senior executive at the end of his career who wants to prove to himself that he is still alive. Three characters who are losing speed on the competition highway…<\/p>\n\n\n\n\n\n
Zoel Aeschbacher<\/td>\nDirector<\/td>\n<\/tr>\n
Nelson Ghrenassia<\/td>\nProducer<\/td>\n<\/tr>\n
Elena Tatti<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Bonnes\n <\/div>\n \n
\n
\n

Bonnes Vacances !<\/h2>

In an absurd universe, Marcel, a young mechanic, discovers late in the game that he is entitled to a few days off. Caught off guard, he improvises a vacation just a few meters away from his workshop and watches, from his deckchair, a world terrified of missing the train that will take them on vacation.<\/p>\n\n\n\n\n\n\n\n
Paul Hirsch<\/td>\nDirector<\/td>\n<\/tr>\n
Gabriel Baxas<\/td>\nWriter<\/td>\n<\/tr>\n
Victor Marlier<\/td>\nProducer<\/td>\n<\/tr>\n
C\u00e9lia Wallendorf<\/td>\nProducer<\/td>\n<\/tr>\n
Gr\u00e9goire Von Rakowski<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Ink\n <\/div>\n \n
\n
\n

Ink Drop<\/h2>

Inspired by a video of a dancer, an artist creates a free illustration of her where he covers her skin with a colorful floral body painting.
\nAs the artist sleeps deeply, the ink escapes from the paper, leaves the apartment and ventures into the Tokyo night in search of something, or rather, in search of someone… The inspiring dancer. Inviting itself into her room, the ink covers the dancer’s body.
\nFaced with the sleeping and lonely city, a witness to the magic of the moment, the dancer fully expresses herself in a choreography filled with emotions until sunrise.
\nDream or reality? Is that the real question?<\/p>\n

“Art is the link between us”<\/p>\n\n\n\n\n
ALEXANDRE OSMOZE BRAKHA<\/td>\nDirector<\/td>\n<\/tr>\n
Tik Tak Production<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"T\u00e9t\u00e8che\"\n <\/div>\n \n
\n
\n

T\u00e9t\u00e8che<\/h2>

Guiana, 1934. A man returns to the land of his birth. Torn between his mission as an ethnologist in the middle of the colonial era and his desire to return to his roots, he embarks on an introspective journey that takes him to the very edge of himself.
\nA free fantasy about a moment in the life of the poet L\u00e9on-Gontran Damas.<\/p>\n

 <\/p>\n\n\n\n\n
Hugo Rousselin<\/td>\nDirector<\/td>\n<\/tr>\n
Artisans du film<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"18h46\"\n <\/div>\n \n
\n
\n

18h46<\/h2>

A man is waiting for a train in which he will not board. The 6:46 PM train.<\/p>\n\n\n\n\n\n
Arthur Miller<\/td>\nDirector<\/td>\n<\/tr>\n
Arthur Miller<\/td>\nWriter<\/td>\n<\/tr>\n
Arthur Miller<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Bittersweetness\"\n <\/div>\n \n
\n
\n

Bittersweetness<\/h2>

Alex, 25 years old, is a young woman trapped in nostalgia. One night, she stumbles upon Leo, her first love. Five years have passed since their separation. Alex, at first anxious at the idea of seeing Leo again, gets carried away by their innate complicity. This nocturnal interlude opens a path to an unfinished past, now knocking uninvited to the door of her present.<\/p>\n\n\n\n\n
Bastien ACHARD<\/td>\nDirector<\/td>\n<\/tr>\n
Paul Diaconescu<\/td>\nWriter<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"One\n <\/div>\n \n
\n
\n

One last breath<\/h2>

Robyn, a 42-year-old actress has just lost her son. As she is about to give up on life, she hears a mysterious guitar tune coming through the wall.<\/p>\n

 <\/p>\n\n\n\n\n
Audrey Karras<\/td>\nDirector<\/td>\n<\/tr>\n
Carla CIVALLERI<\/td>\nWriter<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Truthosis\"\n <\/div>\n \n
\n
\n

Truthosis<\/h2>

Touching an infected person is enough to contract this new rare and unlisted disease and to be compelled to tell only the truth. As the virus spreads, the lying habits of our humanity are truthfully exposed.<\/p>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Flip\n <\/div>\n \n
\n
\n

Flip Flop<\/h2>

Heloise and Camille, two Youtubers, break into a public pool at night for their first “Urbex” video, carrying their animated plushes, mascots of their show. They swim, they splash, they film everything… and trigger the alarm. They find themselves on the run in the surrounding countryside, in bathing suits and flip-flops, armed only with their camera and their mascots.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n
Martin Baillon<\/td>\nDirector<\/td>\n<\/tr>\n
Pierre Lavalette<\/td>\nDirector<\/td>\n<\/tr>\n
Martin Baillon<\/td>\nWriter<\/td>\n<\/tr>\n
Pierre Lavalette<\/td>\nWriter<\/td>\n<\/tr>\n
Nicolas Gallardo<\/td>\nWriter<\/td>\n<\/tr>\n
Martin Baillon<\/td>\nProducer<\/td>\n<\/tr>\n
Pierre Lavalette<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Edmond\n <\/div>\n \n
\n
\n

Edmond Albius<\/h2>

Bourbon Island, 1841.
\nMr. Bellier-Beaumont, the owner of a small sugar cane plantation, has taken a liking to Edmond, a young slave of twelve. He shares with him his knowledge of botany and his research. The owner hopes to discover the secret of Vanilla fertilization. For the moment, as elsewhere on the island, the plant does not produce any pods.
\nWhen one of the property’s runaway slaves is caught, Edmond finally opens his eyes to his condition as a slave. He now has only one desire: to discover the secret of vanilla himself in order to change his own destiny.<\/p>\n

 <\/p>\n\n\n\n\n\n
Hubert Kond\u00e9<\/td>\nDirector<\/td>\n<\/tr>\n
Fanny Meeschaert<\/td>\nWriter<\/td>\n<\/tr>\n
TikTak<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"D\u00e9barr\u00e9e\"\n <\/div>\n \n
\n
\n

D\u00e9barr\u00e9e<\/h2>

Bianca, a precarious student, tries to return to live with her father.
\nHe did not respond to the message announcing his arrival. Could this be a bad omen?<\/p>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Bodies\n <\/div>\n \n
\n
\n

Bodies and Souls : Inertia<\/h2>

A littel girl gives birth to herself from a strange body burdened by death. Under the sound of a bell, a golden entity comes to life beside her. Then, thses two beings begin a curious underground together.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Loqman Bahri<\/td>\nDirector<\/td>\n<\/tr>\n
Loqman Bahri<\/td>\nWriter<\/td>\n<\/tr>\n
Loqman Bahri<\/td>\nProducer<\/td>\n<\/tr>\n
Loqman Bahri<\/td>\nEditor<\/td>\n<\/tr>\n
Jordan Proen\u00e7a, Anthony Touzalin<\/td>\ncomposer<\/td>\n<\/tr>\n
Elliot Chaubron, Paul Guioni<\/td>\nSound designer<\/td>\n<\/tr>\n
Eliot Couharde<\/td>\nSound mixing<\/td>\n<\/tr>\n
Orpheo<\/td>\nMastering<\/td>\n<\/tr>\n
Loqman Bahri<\/td>\nWriter<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Rosalie\n <\/div>\n \n
\n
\n

Rosalie & C\u00e9sar<\/h2>

In a small Mediterranean island village, it’s the last day, of the last summer, of Rosalie, 18, at her father’s, C\u00e9sar, 80. With her baccalaureate in hand, Rosalie will leave in a few hours to continue her studies in London.
\nBut that day, Rosalie and C\u00e9sar lose their dog, Neptune.
\nAs they set off together in search of him, the tensions and the unspoken resurface.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Joan Borderie<\/td>\nDirector<\/td>\n<\/tr>\n
Joan Borderie<\/td>\nWriter<\/td>\n<\/tr>\n
Christophe Chauvin<\/td>\nDOP<\/td>\n<\/tr>\n
Th\u00e9odore Bonnet<\/td>\nEditor<\/td>\n<\/tr>\n
Th\u00e9odore Celardo<\/td>\nSound<\/td>\n<\/tr>\n
Th\u00e9odore Celardo, Jean-Charles Kraimps<\/td>\nSound<\/td>\n<\/tr>\n
Doroth\u00e9e Auboiron<\/td>\nSet designer<\/td>\n<\/tr>\n
Arthur Grec<\/td>\nProducer<\/td>\n<\/tr>\n
Rosalie Charrier, F\u00e9odor Atkine<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Forgetting\"\n <\/div>\n \n
\n
\n

Forgetting<\/h2>

Following a stroke, Marie, a 85 years old woman, wakes up in the hospital. She has forgotten french and can only speak breton, her mother tongue, a language that she hadn’t used for years.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n
Madeleine Guillo-Leal<\/td>\nDirector<\/td>\n<\/tr>\n
Janig Bodiou<\/td>\nKey Cast<\/td>\n<\/tr>\n
Fran\u00e7ois Louis<\/td>\nKey Cast<\/td>\n<\/tr>\n
Anna Guillo-Leal<\/td>\nKey Cast<\/td>\n<\/tr>\n
Olivia Lancelot<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"STIGMATE\"\n <\/div>\n \n
\n
\n

STIGMATE<\/h2>

In the middle of the Black Plague, Simon comes back to his monastery after a long pilgrimage. But as he struggles to find his place among the monks, an intruder breaks into the monastery. It is too late to understand that a new evil followed him here…<\/p>\n\n\n\n\n\n\n\n\n\n
S\u00e9lim Atmane<\/td>\nDirector<\/td>\n<\/tr>\n
Hugo Barral<\/td>\nDirector<\/td>\n<\/tr>\n
S\u00e9lim Atmane<\/td>\nWriter<\/td>\n<\/tr>\n
Hugo Barral<\/td>\nWriter<\/td>\n<\/tr>\n
Victor Forest<\/td>\nProducer<\/td>\n<\/tr>\n
Pauline Moreau<\/td>\nProducer<\/td>\n<\/tr>\n
Padrig Vion, Carlo Brandt, Jean-Louis Costes, Jean-Louis Loca<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Here\n <\/div>\n \n
\n
\n

Here Lies<\/h2>

A 50 years-old woman cannot stand her husband anymore and decides to go to space.<\/p>\n

 <\/p>\n\n\n\n\n\n\n
Ren\u00e9e Spatial<\/td>\nDirector<\/td>\n<\/tr>\n
Ren\u00e9e Spatial<\/td>\nWriter<\/td>\n<\/tr>\n
Victor Forest<\/td>\nProducer<\/td>\n<\/tr>\n
Helene Sarrazin,Pierre Lebaleur<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Five\"\n <\/div>\n \n
\n
\n

Five<\/h2>

In the middle of the night, at the foot of the tree where Annie died, four of her friends, Camille, Flora, Lucie and Marion, invoke her in order to make her appear. But can they really?<\/p>\n\n\n\n\n\n
J\u00e9r\u00e9my Prudent<\/td>\nDirector<\/td>\n<\/tr>\n
J\u00e9r\u00e9my Prudent<\/td>\nWriter<\/td>\n<\/tr>\n
Anna Agostini,Camille Broillard, Manon Clavel, Margot Marie Meneguz, Sandra Piquemal<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"UN-WOMAN\"\n <\/div>\n \n
\n
\n

UN-WOMAN<\/h2>

Plot:
\nFor a comfortable life, a man belonging to the rural parts of India illegally buys a bride for himself but unknowingly marries a Hijda (Slur used in India to describe an Transgender \/ Intersex person). They eventually fall in love and fight to survive as a couple in a conservative, oppressive society where marriages are meant to take place only between a man and a woman, and traditional norms are more important than humanity.<\/p>\n

Synopsis:
\nBhanwar a simple man from the village of Rajasthan leads a lonely life. He is further burdened by the overpowering shadow of his dominant uncle Bhairo who mostly decides on Bhanwar\u2019s behalf. To improve their living condition his uncle Bhanwar coaxes him to buy a bride. Bhanwar sells his piece of land and Bhairo contacts a human trafficker. But as destiny holds it, the human trafficker dupes Bhanwar and instead of a woman sells him Sanwri who is an Transgender \/ Intersex person (She is a person with a female gender identity born with no vagina and reproductive organs).
\nStuck in a strange situation, both Bhanwar and Bhairo decide to keep her in their home for household work and withhold Sanwri\u2019s actual identity since Transgender \/ Intersex people are looked down upon in Indian society.
\nSanwri\u2019s gentle demeanor and sweet nature soften Bhanwar\u2019s heart. Their bond based on necessity gradually turns into love. But for Bhairo, Sanwri and Bhanwar\u2019s relationship is anything but real. Bhairo treats Sanwri as an object who is only there to serve his needs. He wants Sanwri to satisfy his lustful needs too. When Bhanwar objects tension brews between them and Sanwri\u2019s reality comes out in open. Bhanwar and Sanwri realize that their love is not enough to survive the harsh judgment, mockery, taboos, and hypocrisy of society.
\nSet in the world of relatable characters, the film also throws light on bride trafficking, the skewed female ratio in some parts of India, and the status of Transgender \/ Intersex people who are abused as \u2018Chakka\u2019 \u2018Gud\u2019 \u2018Hijda\u2019. People made them feel ashamed of their bodies and forced them to live a life away from the mainstream.<\/p>\n\n\n\n\n\n\n
Pallavi Roy<\/td>\nDirector<\/td>\n<\/tr>\n
Pallavi Roy<\/td>\nWriter<\/td>\n<\/tr>\n
Gunjan Goel<\/td>\nProducer<\/td>\n<\/tr>\n
Bhagwan Tiwari, Sarthak Narula, Kanak Garg, Girish Pal Singh, Pramod Deswal<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Lunatic\"\n <\/div>\n \n
\n
\n

Lunatic<\/h2>

Lunatic tackles urgent earthly issues, as seen by a lonely astronaut, called Antonio, who was left behind on the moon after his coming out.
\nIn addition to the climate crisis, human waste, even in space, determines our fate. The moon-guard, a statue of a skinned warrior, symbolises defence against the space debris danger from above. Ultimately, collisions between space debris and satellites will cause a cascade of collisions that will destroy all communications. It’s called Kessler syndrome.
\nThe earth ends up with a Saturn like dust ring of metal and silicon.<\/p>\n

Antonio is aware of these problems and as he put’s it: \u201cIt is one small scrap by man, one giant heap by mankind.\u201d He tries to do some terra forming on the moon and finally he meets the all knowing ‘I am AI’ who also happens to be the voice over.<\/p>\n

Lunatic is an improvisation animation film by Robin Noorda, based on his poem about the human behaviour of leaving waste everywhere.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n
Robin Noorda<\/td>\nDirector<\/td>\n<\/tr>\n
Robin Noorda<\/td>\nWriter<\/td>\n<\/tr>\n
Robin Noorda<\/td>\nProducer<\/td>\n<\/tr>\n
Marc Thelosen<\/td>\nProducer<\/td>\n<\/tr>\n
Alfred Marseille<\/td>\nMusic<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"If\n <\/div>\n \n
\n
\n

If I Were a Pony<\/h2>

If I Were a Pony by Leonard Eckhaus is the story of a boy and his pony told from the Pony’s perspective. The pony and the boy share many adventures. They ride across streams; they ride with friends and sometimes they just enjoy each other\u2019s company.
\nThe pony looks forward to being with the boy every day and is sad when he gets too old to do all the fun things they used to do together. As they both age, their relationship changes but their love for one another never lessens. As the pony looks back on all they did together, he is saddened but knows just how wonderful his life has been.<\/p>\n\n\n\n\n\n
Leonard I Eckhaus<\/td>\nWriter<\/td>\n<\/tr>\n
Keith Thompson<\/td>\nCredits<\/td>\n<\/tr>\n
Hannah Yaoz<\/td>\nCredits<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Walk\"\n <\/div>\n \n
\n
\n

Walk<\/h2>

When the Indian subcontinent is shut down by a devastating Pandemic, one man must deliver his dead friend\u2019s son back to his family, across 1000 miles of unforgiving lockdown territory. A bittersweet comedy-drama in the genre of ‘Life Is Beautiful’, inspired by the migrant workers who had to walk 1000s of kilometers back to their \u00a0homes during the 2020 lockdown.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n
Dr. Nitin Kumar Gupta<\/td>\nDirector<\/td>\n<\/tr>\n
Dr. Nitin Kumar Gupta<\/td>\nWriter<\/td>\n<\/tr>\n
Dr. Nitin Kumar Gupta<\/td>\nProducer<\/td>\n<\/tr>\n
Dr. Vikram Jadhav<\/td>\nProducer<\/td>\n<\/tr>\n
Rahul Roy, Archana Puran Singh, Sparsh Suman<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Bran-Don\n <\/div>\n \n
\n
\n

Bran-Don of the Dead<\/h2>

According to Brandon, living alongside zombies actually isn’t really all that bad. Come along for a tour with “Brandon of the Dead”.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n
David Over<\/td>\nDirector<\/td>\n<\/tr>\n
Rhoda Brooks<\/td>\nWriter<\/td>\n<\/tr>\n
Rhoda Brooks<\/td>\nProducer<\/td>\n<\/tr>\n
David Over<\/td>\nProducer<\/td>\n<\/tr>\n
Landon Brooks, Shailesh Kumar<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"HOLY\n <\/div>\n \n
\n
\n

HOLY TRAILS – THE TOUGHEST PILGRIMAGE<\/h2>

Pilgrimage is a word that all understand that talking about a Shrine. This happens in the whole world in different ways, because everyone has their own beliefs. Pilgrims face many difficult situations to get God’s glimpse. Some Pilgrimage journey is really very difficult and dangerous, but the arrival of pilgrims never stops.<\/p>\n

In the journey of some pilgrimages, pilgrims have to travel many kilometers by foot, and sometimes some people also face death, but still, there is no effect on the devotee’s faith.<\/p>\n

In India, all Pilgrimages have the same beliefs, but some of the journeys are of more importance in our lives, such as the visit to CHAR DHAM which we want to do all in life once. \u2018Pilgrim\u2019,<\/p>\n

A being who journeys to a sacred place in search of GOD. A path that is unfathomable and demanding, which measures your faith against mountains, freezing temperatures & unforgiving treks. – where Godly presence is not just perceived but strongly felt.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n
SHIVENDRA GAUR<\/td>\nDirector<\/td>\n<\/tr>\n
PRASHANT JHA<\/td>\nWriter<\/td>\n<\/tr>\n
SHIVENDRA GAUR<\/td>\nProducer<\/td>\n<\/tr>\n
YADVENDRA SINGH<\/td>\nProducer<\/td>\n<\/tr>\n
NIDHI CHATURVEDI<\/td>\nProducer<\/td>\n<\/tr>\n
PREETI CHOUDHUARY, GYALSON GYAL<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"DESHKARI\"\n <\/div>\n \n
\n
\n

DESHKARI<\/h2>

Deshkari – Film Synopsis<\/p>\n

Around 85% farmers in India are termed as small farmers because they own less than two acres of land. Most of them are poor. They consider their land as their god.They don\u2019t complain. They are humble at heart. Rains or no rains. Government help or no help. They just slog it out. They don\u2019t have a choice. We read that they don\u2019t get good price for their produce. We read about their suicides. They do not protest because they are aware that it is useless. Inspite of all this he keeps smiling.<\/p>\n

This is a story of such selfless farmers. It is an effort to shift society\u2019s point of view about small farmers. An effort to bring some respect to the farmer.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n
sanjay baburao daiv<\/td>\nDirector<\/td>\n<\/tr>\n
vaibhav Kulkarni<\/td>\nWriter<\/td>\n<\/tr>\n
sanjay baburao daiv<\/td>\nProducer<\/td>\n<\/tr>\n
Vikram Tanajirao Patil<\/td>\nProducer<\/td>\n<\/tr>\n
Aishwarya Malgave<\/td>\nProducer<\/td>\n<\/tr>\n
Chandrashekhar Bapu Gurav<\/td>\nProducer<\/td>\n<\/tr>\n
Aasavari Nagvekar<\/td>\nProducer<\/td>\n<\/tr>\n
Prashant Deshmane<\/td>\nProducer<\/td>\n<\/tr>\n
Maruti mali, Shraddha Pawar, Aniket Lad, Amruta Khandekar, Dhairyashil Patil, Siddhi Patil, Aishwarya Malgave, Pramod Kulkarni, Asawari Nagvekar, Suresh Patil, Sadhana Patil<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Two\n <\/div>\n \n
\n
\n

Two worlds<\/h2>

A young graduate, deep in debt, receives a call on a sunny and busy morning in Chennai. Assuring that he’d reach within 15 mins, he begins racing in his motorbike through the traffic, risking his life even! The following sequence of events in the film unfolds the sad reality of today’s world.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n
nithya gopalakrishnan<\/td>\nDirector<\/td>\n<\/tr>\n
nithya gopalakrishnan<\/td>\nWriter<\/td>\n<\/tr>\n
gopalakrishnan ramamurthy<\/td>\nProducer<\/td>\n<\/tr>\n
kalavathi selvarajan<\/td>\nProducer<\/td>\n<\/tr>\n
nithya gopalakrishnan<\/td>\nProducer<\/td>\n<\/tr>\n
lakshana gopalakrishnan<\/td>\nProducer<\/td>\n<\/tr>\n
Dinesh rajendran, Aravind Murali<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Waking\n <\/div>\n \n
\n
\n

Waking Up In Paradise<\/h2>

A former multi billionaire wakes up to a very unexpected world…
\nA short film based on Scene 62 in the completed feature film screenplay Waking Up.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n
Harald Neslein Sand\u00f8<\/td>\nDirector<\/td>\n<\/tr>\n
Harald Neslein Sand\u00f8<\/td>\nWriter<\/td>\n<\/tr>\n
Harald Neslein Sand\u00f8<\/td>\nProducer<\/td>\n<\/tr>\n
Alex Afshar<\/td>\nProducer<\/td>\n<\/tr>\n
Anette Sundqvist, Teodor Abreu, Delara Soltan Zadeh<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Trees\"\n <\/div>\n \n
\n
\n

Trees<\/h2>

On the death of her husband, Malal retrieves her hidden pencils and paper from beneath a floor board to draw the flowers in her garden. While her sons argue over who will look after her now, she leaves the house alone for the first time in years.<\/p>\n

 <\/p>\n\n\n\n\n\n
Mian Rahman<\/td>\nDirector<\/td>\n<\/tr>\n
Jan Ruppe-Rahman<\/td>\nWriter<\/td>\n<\/tr>\n
Jan Ruppe-Rahman<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Tukdam:\n <\/div>\n \n
\n
\n

Tukdam: Between Worlds<\/h2>

This feature documentary explores a phenomenon that blurs life and death to an unprecedented degree. In what Tibetan Buddhists call \u2018tukdam\u2019, advanced meditators die in a consciously controlled manner. Though dead according to our biomedical standards, they often stay sitting upright in meditation. Remarkably, their bodies remain fresh and lifelike, without signs of decay for days, sometimes weeks after clinical death. Following ground-breaking scientific research into tukdam and taking us into intimate death stories of Tibetan meditators, the film juxtaposes scientific and Tibetan perspectives as it tries to unravel the mystery of \u2018tukdam\u2019.<\/p>\n\n\n\n\n\n\n
Donagh Coleman<\/td>\nDirector<\/td>\n<\/tr>\n
Kaarle Aho<\/td>\nProducer<\/td>\n<\/tr>\n
Martha O’Neill<\/td>\nProducer<\/td>\n<\/tr>\n
Pille R\u00fcnk<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"WORLD\n <\/div>\n \n
\n
\n

WORLD WAR II: THE SHIPWRECKS OF TRUK LAGOON<\/h2>

“World War II: The Shipwrecks of Truk Lagoon” is a 45-minute documentary that dives into the haunting underwater world of Chuuk Lagoon, a site of immense historical and ecological significance. Once a formidable fortress for the Japanese Imperial Navy during World War II, this tranquil Pacific lagoon now cradles a ghostly fleet of sunken warships and aircraft, remnants of the devastating Operation Hailstone. Through a blend of captivating underwater footage, historical insights, and expert interviews, the documentary unveils the stories of these submerged relics. It explores the ecological transformation of these wrecks into vibrant marine habitats, while also pondering the ethical considerations of diving in this underwater graveyard. The film invites viewers on a reflective journey, intertwining the lagoon’s war-torn past with its present status as a unique sanctuary for marine life, leaving a lasting impression of the intricate ties between history, humanity, and the natural world.<\/p>\n

 <\/p>\n\n\n\n\n\n
Christian Wehrle<\/td>\nDirector<\/td>\n<\/tr>\n
Christian Wehrle<\/td>\nWriter<\/td>\n<\/tr>\n
Christian Wehrle<\/td>\nEditor<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Gulag\n <\/div>\n \n
\n
\n

Gulag Eros of the Russian Mind: Sex in the Soviet Union<\/h2>

Sundance Grand Jury Prize Winner Chad Gracia presents “Sex in the Soviet Union: Gulag Eros of the Russian Mind,” a new film that explores the ways authoritarianism warps human sexuality. The tale is told through the life story of Dr. Mikhail Stern, the first sexologist in the USSR. He worked at a small clinic and dedicated his life to fighting against the ignorance and sexual terror of Soviet society.<\/p>\n

Dr. Stern was born with the Russian Revolution, was slated for execution by Stalin in the infamous “Jewish Doctors\u2019 Plot” in 1953, was sent to the Gulag in 1974 after a famous show trial, and was eventually allowed to emigrate to Amsterdam after an international campaign led by Jean-Paul Sartre and Simone De Beauvoir.<\/p>\n

While serving in the gulag, Dr. Stern began collecting his notes on the history of sexuality in the Soviet Union, as well as focusing on individuals whose lives encapsulate the horrors of Soviet sexuality. These include Alexandra Kollontai, the first female ambassador of the modern era and an iron-willed general in the battle to create sexual utopia in the new communist state; a pair of gay men living openly as husbands during the 1920s; a young girl who fought back against KGB head Lavrentiy Beria\u2019s attempted rape; a grandmother who attempted to save her granddaughter\u2019s life after a botched illegal abortion; and the only sex spy ever to successfully turn the tables on her KGB handler and escape to the West.<\/p>\n

We bring these stories to the screen through re-enactments that follow closely the primary sources and Dr. Stern\u2019s notes, and which humanize stories that illuminate not only the totalitarianism of the USSR, but challenges confronting the world today.<\/p>\n

After his release, Dr. Stern settled in Amsterdam to write the book which inspired this film. He was killed during a brutal sexual assault, a mystery our team will unravel in a subsequent film.<\/p>\n

The arc of Dr. Stern\u2019s life raises compelling questions about the persistence of tyranny in the minds of those who fight it as well as the complexities of the human soul.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n
Chad Gracia<\/td>\nDirector<\/td>\n<\/tr>\n
Victoria Trofimenko<\/td>\nWriter<\/td>\n<\/tr>\n
Artem Ryzhykov<\/td>\nCinematography<\/td>\n<\/tr>\n
Marina Orekhova<\/td>\nProducer<\/td>\n<\/tr>\n
Darya Plakhtiy<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"OEDOER\n <\/div>\n \n
\n
\n

OEDOER DROM we came from afar<\/h2>

In this colorful roadmovie a group of enthusiastic and curious Sinti from the Netherlands travels through a number of meaningfull places in the Province of Rajasthan in India, looking for their Indian roots. Soon they discover that their language, the Romanes, corresponds to Hindi. That also applies to living habits, clothing, dance and their attitude towards elderly people. This results in very special encounters and moments of ‘coming home’.
\nRaklo and Kleine buy a camel at the largest camel market in Asia, Betje performs music with the Sinti in the desert, Lalla sees on the historic bridge in Udaipur many similarities with her family,
\nZoni talks to an Indian boy in his own language, Cillia dances at the fair with two belly dancers, Marie bakes bread in the desert, for Kleine it feels like a big caravan camp, Zoni realizes that this was once their country, Raklo takes care of a begging boy and going to buy food for his family, Marie goes outside to buy traditional clothes.<\/p>\n

 <\/p>\n\n\n\n\n\n
bob entrop<\/td>\nDirector<\/td>\n<\/tr>\n
bob entrop<\/td>\nProducer<\/td>\n<\/tr>\n
cilia holzken, lalla weiss, raklo keiman, betje van susteren<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Gadad\n <\/div>\n \n
\n
\n

Gadad ( The Dark)<\/h2>

Kishor is 13 year old boy. Suddenly at night his friend Renuka left while playing dandiya she absent to the school the next day, the reason behind her absence is her menstruation cycle He knew that . This question arises to his kind mind what exactly periods mean .Then he along with his friend Bandya inquires about the period in different places but no one talks about it only shouts and curses. The only sources which would know this is also taken away by the parents. Dark (Gadad) is a short film that tells this.<\/p>\n\n\n\n\n\n\n
Mr. KOMAL SURESH BAGUL<\/td>\nDirector<\/td>\n<\/tr>\n
Mr. KOMAL SURESH BAGUL<\/td>\nWriter<\/td>\n<\/tr>\n
Mrs. SHRUTI KOMAL BAGUL<\/td>\nProducer<\/td>\n<\/tr>\n
Miss. TEJASHREE KOMAL BAGUL<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Wakeup\"\n <\/div>\n \n
\n
\n

Wakeup<\/h2>

In a shared neighborhood, Nanappan and a mother with her 6-year-old son live beside each other, sharing common facilities. The mother encourages her son to use the toilet, but Nanappan’s habits influence the boy. An incident prompts Nanappan’s realization. The story transitions to a documentary segment showcasing effective waste management in Kakkodi Panchayat, Kerala, India.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n
Atheed Subair<\/td>\nDirector<\/td>\n<\/tr>\n
Atheed Subair<\/td>\nWriter<\/td>\n<\/tr>\n
Atheed Subair<\/td>\nProducer<\/td>\n<\/tr>\n
Kabani Saira, Naisal KP, Milan Muhammed<\/td>\nKey Cast<\/td>\n<\/tr>\n
Amal Gosh<\/td>\nCameraman<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"#KK\"\n <\/div>\n \n
\n
\n

#KK<\/h2>

“#KK” follows the journey of a talented aspiring actor named KK, who confronts the harsh realities of societal prejudices due to his dark skin complexion. KK, a young and ambitious lower-middle-class boy, resides in the suburbs of Mumbai, India, along with his widowed mother.<\/p>\n

KK’s ambition is to be an actor and star in films. However, from the outset, KK faces discrimination, rejection, and ridicule in the unforgiving world of showbiz solely based on his appearance. Despite his passion and talent, he encounters closed doors and limited opportunities, leaving him disillusioned and despondent.<\/p>\n

The story sheds light on KK grappling with his own insecurities, battling against internal doubts, and confronting the external pressures imposed by a prejudiced society. Each setback he faces tests his resilience and determination.<\/p>\n

As the narrative unfolds, viewers witness KK’s relentless pursuit of his dreams amidst adversity. But in the end, does KK come out of people’s stigma and make it big in the pursuit of his dreams?<\/p>\n

The film sheds light on several prejudices, superstitions, and ignorant biases pertaining to colorism that still exist in an ever-changing, growing India.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n
Arjun Pankaj Razdan<\/td>\nDirector<\/td>\n<\/tr>\n
Sushil Arun Yadav<\/td>\nWriter<\/td>\n<\/tr>\n
Arjun Pankaj Razdan<\/td>\nWriter<\/td>\n<\/tr>\n
Reuben Janet Ellis<\/td>\nWriter<\/td>\n<\/tr>\n
Pankaj Jawaharlal Razdan<\/td>\nProducer<\/td>\n<\/tr>\n
Sonia Razdan<\/td>\nProducer<\/td>\n<\/tr>\n
Arjun Pankaj Razdan<\/td>\nProducer<\/td>\n<\/tr>\n
Rushiraj Pawar<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Rasan\n <\/div>\n \n
\n
\n

Rasan Piya<\/h2>

Through a portrait of the life of Ustad Abdul Rashid Khan, an Indian classical vocalist and poet versed in Awadhi and Braj bhasha, the film delves into India’s Ganga-Jamuni tehzeeb (a syncretic Hindu Muslim culture), the student teacher relationship and the encounter of this tradition with modernity. In the contemporary landscape of a divided India, Abdul Rashid Khan and his music symbolize a resolute resistance against the looming shadows of communalism. The film Rasan Piya is an attempt to document, preserve, and honor his enduring legacy.<\/p>\n\n\n\n\n\n\n
Niharika<\/td>\nDirector<\/td>\n<\/tr>\n
Akshay Madan<\/td>\nCinematographer<\/td>\n<\/tr>\n
Niharika Popli<\/td>\nEditor<\/td>\n<\/tr>\n
Ustad Abdul Rashid Khan<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Jinn-\n <\/div>\n \n
\n
\n

Jinn- Chapter 1<\/h2>

“Jinn – Chapter 1” is an evocative supernatural narrative set in the enigmatic confines of a solitary house in Noida, India. The story opens with a chilling sequence featuring young Farhan, a boy enveloped in the innocence of childhood, who faces a horrifying encounter with an unseen, malevolent force in his room. This terror is abruptly interrupted by his father, a devout Muslim priest and experienced exorcist. From this encounter, Farhan learns valuable lessons about faith, the inevitability of death, and the protective power of belief in Allah.<\/p>\n

Fast forward thirty years, and the story finds an adult Farhan haunted by the memories of his past in the same house. History eerily repeats itself when the Jinn, a supernatural entity, reappears, this time disguised as Nida, Farhan’s deceased wife. The illusion is so convincing and emotionally wrenching that Farhan, engulfed in grief, begins to lose touch with reality, forgetting that Nida has passed away.<\/p>\n

In his torment, Farhan seeks help from his friend, Jayant, a pragmatic psychiatrist. After careful consideration, Jayant diagnoses Farhan with schizophrenia, attributing his supernatural experiences to hallucinations. To confront these fears, Jayant takes Farhan to the room where Nida’s apparition appeared. However, this move backfires horrifically when the Jinn reveals its true demonic form and mercilessly kills Jayant.<\/p>\n

The climax of the film unfolds as the Jinn, now exposed in its full terror, offers Farhan a dreadful choice \u2013 submission in return for a false promise of life. At this critical juncture, Farhan is torn between succumbing to the Jinn and embracing the teachings of his father. The wisdom imparted by his father about faith and the afterlife resonates deeply within Farhan, sparking a powerful internal struggle.<\/p>\n

The film reaches its compelling conclusion with Farhan’s decision to embrace death as a believer, rejecting the Jinn’s deceptive offer. This moment underscores the central theme of the narrative: the triumph of unwavering faith over fear and the resilience of the human spirit against the unknown.<\/p>\n

Set entirely within a house, “Jinn – Chapter 1” masterfully creates a sense of claustrophobia and suspense, symbolizing the characters’ entrapment within their own fears and beliefs. It’s not merely a story of supernatural encounters but an introspective journey into the complexities of the human psyche, faith, and the blurred lines between reality and illusion.<\/p>\n

The film, rooted in Noida, weaves a rich tapestry of emotional depth and cultural resonance, leaving a lasting impact on global audiences. The house, almost a character in itself, mirrors Farhan’s inner turmoil, encapsulating themes of isolation, internal demons, and the quest for redemption.<\/p>\n

“Jinn – Chapter 1” is a cinematic exploration of the spiritual and psychological dimensions of its characters. It invites the audience on a journey that confronts external supernatural forces and internal demons of grief, guilt, and the struggle to maintain faith in the most challenging times. The film concludes with a powerful message about the strength of belief and the human ability to choose faith over fear, even amidst overwhelming darkness.<\/p>\n

As the first chapter of an enthralling saga, “Jinn – Chapter 1” sets the stage for a deeper exploration into the unseen world. It leaves audiences pondering the unseen realm and the power of faith to transcend life and death’s boundaries, promising an enriching cinematic experience.<\/p>\n

 <\/p>\n\n\n\n\n\n\n
Hamid Baig<\/td>\nDirector<\/td>\n<\/tr>\n
Hamid Baig<\/td>\nWriter<\/td>\n<\/tr>\n
Currant Noir Studios<\/td>\nProducer<\/td>\n<\/tr>\n
Manjari Chaudhary, Naseeb Akhtar<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"Katele\n <\/div>\n \n
\n
\n

Katele (mudskipper)<\/h2>

Martha, an Indigenous woman works tirelessly in a laundromat loading machines and folding washing, ready for the collection of her boss. When a mysterious visitor arrives, Martha is reminded of the life she has left behind.<\/p>\n\n\n\n\n\n\n\n\n
John Harvey<\/td>\nDirector<\/td>\n<\/tr>\n
Walter Waia<\/td>\nWriter<\/td>\n<\/tr>\n
John Harvey<\/td>\nWriter<\/td>\n<\/tr>\n
Gillian Moody<\/td>\nProducer<\/td>\n<\/tr>\n
John Harvey<\/td>\nProducer<\/td>\n<\/tr>\n
Elma Kris, Waangenga Blanco<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>
\n
\n
\n
\n \"U=Me\"\n <\/div>\n \n
\n
\n

U=Me<\/h2>

Nikita faces a life-altering situation when her husband, Neeraj, discloses his HIV diagnosis. While struggling with the emotional turmoil, she contemplates leaving him due to the lifelong nature of the disease. Unexpectedly reuniting after some time, Neeraj reveals that with consistent medication, he can lead a healthy life without transmitting HIV through sex. Nikita, guided by a counselor and medical consultant, discovers the empowering concept of “U=U” (Undetectable = Untransmittable), providing hope for a fulfilling future together.<\/p>\n

 <\/p>\n\n\n\n\n\n
Umesh Vinayak Kulkarni<\/td>\nDirector<\/td>\n<\/tr>\n
Vivek Bele.<\/td>\nWriter<\/td>\n<\/tr>\n
Sanjay Pujari<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div> \t\n\t\t \t<\/a>\n\t\t \t<\/div>\n\t\t<\/div>\n\t\t\n\t<\/div>\n<\/div>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Official Selection Films 2024″ font_container=”tag:h2|text_align:center”][vc_custom_heading text=”Note: E-Certificates will be sent by e-mail to the submitters after the event” font_container=”tag:p|text_align:center”][vc_column_text]
\n \n \n \n \n \n \n \n <\/colgroup>\n <\/table>\n \n \n \n<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Workshop 2024″ font_container=”tag:h2|text_align:center”][vc_column_text]<\/p>\n

Venue: Conference Hall, 2nd Floor, Alliance Francaise de Delhi bldg.<\/h2>\n

[\/vc_column_text][vc_separator color=”black” border_width=”5″ css=”.vc_custom_1698729771215{padding-top: 30px !important;padding-bottom: 30px !important;}”][vc_column_text]<\/p>\n

6 April 2024<\/strong><\/i><\/h2>\n

[\/vc_column_text][vc_separator color=”black” border_width=”5″ css=”.vc_custom_1698729771215{padding-top: 30px !important;padding-bottom: 30px !important;}”][vc_column_text]<\/p>\n

Workshop-1\u00a0<\/strong><\/i><\/h1>\n

6 April 2024 4:00 to 4:45PM<\/span><\/b><\/h4>\n

Harmony in Motion: Mastering the Art of Directing Actors and Cinematographers by Hamid Baig<\/b><\/h4>\n

Synopsis:<\/strong> This workshop is designed for directors, filmmakers, and cinema enthusiasts keen on exploring the intricate art of filmmaking through the lens of director-actor and director-cinematographer collaborations. At the core of unforgettable cinema is the seamless collaboration between its actors and the cinematographic vision that narrates beyond words.\u00a0 It aims to equip participants with an understanding and enhanced skills in directing, particularly in collaboration with actors and cinematographers. T<\/p>\n

[\/vc_column_text][vc_row_inner css=”.vc_custom_1698672208140{padding-top: 16px !important;padding-bottom: 16px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”8892″ img_size=”full” style=”vc_box_border”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Hamid is a versatile storyteller who blends coffee, creativity, and a bit of chaos into his tales. He started with a novel called “Little Maryam” and later created a captivating collection called “Elephant in the Soul,” mixing short stories, poems, and anecdotes. Despite his background in hotel management and expertise in making great cappuccinos, Hamid ended up exploring consumer behaviors through market research. However, his true passion lies in storytelling. He started by making short films and later studied at the New York Film Academy, leading him to create a trilogy of horror films called “Jinn.”[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n

Moderator: Irfan Jaami<\/h3>\n

[\/vc_column_text][vc_separator border_width=”2″ css=”.vc_custom_1665732398304{padding-top: 30px !important;padding-bottom: 30px !important;}”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Workshop-2\u00a0<\/strong><\/i><\/h1>\n

6 April 2024 5:00\u00a0 to 5:45PM<\/span><\/b><\/h4>\n

Acting MasterClass : Unlock Your True Potential by Niharika Singh<\/h4>\n

Synopsis:<\/strong> Welcome to our transformative acting workshop where we delve into the essence of the craft – where acting is not merely pretending but living truthfully under imaginary circumstances. In this workshop, we go beyond the surface of acting. We believe that acting is not just about saying lines or portraying emotions; it’s about doing. It’s about living truthfully in the given circumstances, no matter how imaginary it may seem. Acting is doing and there is always more to do. This workshop offers a unique opportunity to explore the depths of your acting abilities and unlock your true potential.[\/vc_column_text][vc_row_inner css=”.vc_custom_1698672221580{padding-top: 16px !important;padding-bottom: 16px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”8665″ img_size=”full” style=”vc_box_border”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Niharika Singh is an accomplished theater and film personality. She is visiting expert faculty for acting with the National School of Drama (NSD) and has been head of acting faculty with Barry John Acting Studio. She has acted in and mentored a number of internationally acclaimed and award-winning films. She has her own film production house and has produced and directed a number of documentary films. As a psychologist, she brings a unique and valuable perspective to the performing arts. She is the founder member of the Society for Culture &amp; Environment which organizes The Bhopal Literature and Art Festival every year in Bhopal.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n

Moderator: Irfan Jaami<\/h3>\n

[\/vc_column_text][vc_separator border_width=”2″ css=”.vc_custom_1665732398304{padding-top: 30px !important;padding-bottom: 30px !important;}”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

7 April 2024<\/h2>\n

[\/vc_column_text][vc_separator color=”black” border_width=”5″ css=”.vc_custom_1698729771215{padding-top: 30px !important;padding-bottom: 30px !important;}”][vc_column_text]<\/p>\n

Workshop-3\u00a0<\/strong><\/i><\/h1>\n

7 April 2024 4:00 to 4:45PM<\/span><\/b><\/h4>\n

Character Driven Story Vs Plot Driven Story: Recognize the Difference by\u00a0\u00a0<\/span>Pallavi Roy<\/h4>\n

Synopsis:<\/strong> Often, we have a great story in our minds, but we get stuck in its further development. The first question we need to answer is whether our story is Plot Driven or Character Driven.\u00a0<\/span>In character-driven stories, the plot is the mechanism used to develop the character, whereas in plot-led stories, the character is used to view and comment on the plot. In this workshop, we will explore the key differences between character and plot-driven narrative, discuss how to decide which one to use, and provide some beautiful examples of Bollywood and Hollywood films using these styles.\u00a0We will also be discussing a secret tip to create an equilibrium between the two styles. Don’t miss it![\/vc_column_text][vc_row_inner css=”.vc_custom_1698672235884{padding-top: 16px !important;padding-bottom: 16px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”8893″ img_size=”full” style=”vc_box_border”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Pallavi is a dynamic storyteller with a career in advertising, filmmaking, and political communication. She has spearheaded groundbreaking campaigns such as ‘One India, One Market, One Tax’ initiative featuring Amitabh Bacchan and PVSandhu. Another successful campaign are ‘Awesome Assam’ for Assam Tourism, ‘Namami Brahmaputra’ for the Assam Government, \u2018Kaam Dumdar \u2013 Yogi Sarkar\u2019, ‘UP- New India\u2019s Growth Engine’ for the Uttar Pradesh Government, and \u2018Fasal Beema Karao- Suraksha Kawach Pao\u2019 for the Ministry of Agriculture.Her campaign for Madhya Pradesh Tourism, ‘Here, Wellness Follows You,’ won the Golden Mike Award.Her debut feature film, ‘UnWoman,’ has earned nominations and selections in international film festivals. She is also a writer and recently unveiled her debut novel, ‘Kaalnemi – The Rakshas Empire.’ Her specialization is in Political Communication and Tourism Branding.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n

Moderator: Irfan Jaami<\/h3>\n

[\/vc_column_text][vc_separator color=”black” border_width=”5″ css=”.vc_custom_1698729771215{padding-top: 30px !important;padding-bottom: 30px !important;}”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Trailers Season 5 \u2013 2024″ font_container=”tag:h2|text_align:center”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_video link=”https:\/\/www.youtube.com\/watch?v=IGg_Lg70fLo”][vc_empty_space][\/vc_column][vc_column width=”1\/3″][vc_video link=”https:\/\/www.youtube.com\/watch?v=uJ7GVRLfGG0″][vc_empty_space][\/vc_column][vc_column width=”1\/3″][vc_video link=”https:\/\/www.youtube.com\/watch?v=HIPehHbH3Ow”][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_video link=”https:\/\/youtu.be\/cyMVyKNEQbU”][vc_empty_space][\/vc_column][vc_column width=”1\/3″][vc_video link=”https:\/\/youtu.be\/MiHZcGwTWuA”][vc_empty_space][\/vc_column][vc_column width=”1\/3″][vc_video link=”https:\/\/www.youtube.com\/watch?v=dDBEl9bSGMQ”][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_video link=”https:\/\/www.youtube.com\/watch?v=lWYk1q0S7jg”][vc_empty_space][\/vc_column][vc_column width=”1\/3″][vc_video link=”https:\/\/vimeo.com\/111535645″][vc_empty_space][\/vc_column][vc_column width=”1\/3″][vc_video link=”https:\/\/youtu.be\/3XWAmQZP3G0″][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]

\n

\n \n \n \n <\/colgroup>\n <\/table>\n \n \n \n<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

[vc_row css=”.vc_custom_1772090848800{margin-top: 56px !important;}”][vc_column][vc_custom_heading text=”Previous Edition 2024″ font_container=”tag:h1|font_size:42px|text_align:center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”2024 Award Winner” font_container=”tag:h2|text_align:center”][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Finalist films 2024″ font_container=”tag:h2|text_align:center”][vc_custom_heading text=”Note: E-Certificates will be sent by e-mail to the submitters after the event” font_container=”tag:p|text_align:center”][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Official Selection Films 2024″ font_container=”tag:h2|text_align:center”][vc_custom_heading text=”Note: E-Certificates will be sent […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9622","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.aravalifilmfestival.in\/oldweb\/wp-json\/wp\/v2\/pages\/9622","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.aravalifilmfestival.in\/oldweb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.aravalifilmfestival.in\/oldweb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.aravalifilmfestival.in\/oldweb\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.aravalifilmfestival.in\/oldweb\/wp-json\/wp\/v2\/comments?post=9622"}],"version-history":[{"count":10,"href":"https:\/\/www.aravalifilmfestival.in\/oldweb\/wp-json\/wp\/v2\/pages\/9622\/revisions"}],"predecessor-version":[{"id":9680,"href":"https:\/\/www.aravalifilmfestival.in\/oldweb\/wp-json\/wp\/v2\/pages\/9622\/revisions\/9680"}],"wp:attachment":[{"href":"https:\/\/www.aravalifilmfestival.in\/oldweb\/wp-json\/wp\/v2\/media?parent=9622"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}