In this issue

This issue covers the two great film festivals that characterise the perfect Autumn/Fall season. The 41st Toronto International Film Festival (TIFF) and South Korea's Busan International Film Festival (BIFF). Indian films figure prominently in both.
From India, Masters Adoor Gopalakrishnan and Buddhadeb Dasgupta add their lustre. Konkona Sensharma makes her impressive director’s debut. Toronto’s high profi le conversations will centre-stage Karan Johar, Freida Pinto and Mira Nair.
Busan has as many as 16 fi lms from India in its comprehensive sections. ‘A Window on Asian Cinema’ highlights debut works, among them Shubhashish Bhutiani’s ‘Mukti Bhawan’ (also a funding project)and Ananya Kasaravalli’s ‘Harikatha Prasanga’. Two other debut fi lms, N Padmakumar’s ‘A Billion Colour Story’ and Haobam Paban Kumar’s ‘Loktak Lairembee’ vie for the New Currents award.

FilmIndia Worldwide Magazine Description:

“Film India Worldwide” goes far beyond the work in cinema being projected by Indians living outside of India. It looks at Indian film professionals globally as one important, viable, highly regarded entity.

English films made in India is niche cinema and a newly evolving one which is increasing. About two or three films at most are made each year against our annual 850 films. These English language films aim at wider, international audiences and have a different mindset and marketing plan behind them. This is why I have always looked for them and wanted them in my section.

Film India Worldwide can also have Indian films made by a foreign director, or with a foreign actor or cameraman. It can be a foreign film that has an Indian actor in the main lead. The films can be shot abroad with an Indian professional in it being its only connection with the country. It can be an Indian film that has won major acclaim and awards abroad. The film must have a clear international appeal and component. This concept has served well for ten years. As a seasoned programmer I have been advocating it strongly for some years now.

As an adjunct and arm of the magazine, its editor Uma da Cunha also programmes a section related to the concept of Film India Worldwide at international film festivals. She selects around half a dozen new films that have an important and viable international connection or base.

The magazine needs sponsorship, distribution and advertising to grow to its optimum level of readership and content. There should be world reviews on Indian cinema, evaluation of new films, a section on social networking in which filmmakers interested in India help and consult each other, job offerings and applications – there is a lot of scope.

Above all, the magazine needs to be on the web – with the magazine as an alternative offering and aid.