Film guide- Cannes International Film Festival

Ministry of Information & BroadcastingGovernment of India

Cannes Film MarketIndia Pavilion111 International Village RivieraMay 14-24, 2015

www.indiaatcannes.com

in partnership with


MINISTRY OF INFORMATION AND BROADCASTINGGOVERNMENT OF INDIA

ROOM NO.107, FILMS WING, SHASTRI BHAVANDR. RAJENDRA PRASAD ROADNEW DELHI - 110 001 INDIA

Federation of Indian Chambers of Commerce and Industry

FICCI Federation House, Tansen MargNew Delhi, India 110001

Tel: +91-11-23738760www.fi cci.com

Directorate of Film FestivalsMinistry of Information & Broadcasting

Government of IndiaSirifort Auditorium Complex,

August Kranti Marg, New Delhi- 110049Tel: 91 11 26499371

www.dff.nic.in; www.iffi .nic.in

in partnership with

FILM GUIDEINDIA

www.makeinindia.com

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CONTENT

FILMING IN INDIA 151

INDIAN FILM

PRODUCTION CENTRES

INDIAN FILMS AT CANNES

FILM SECTOR

INITIATIVES

25

6911


NATIONAL FILM

AWARDS

INDIAN COMPANIES AT CANNES

FILM MARKET

FILMS FOR

SALES AND

SYNDICATION

KEY INDUSTRY CONTACT LIST 237

75

101 131



Cannes Film Market 5

Message




Message




Foreword



FILM SECTORINITIATIVES

Film Policies of the Ministry of Information and Broadcasting


India Film Guide 2015 12

The Ministry of Information and Broadcasting, through

the mass communication media consisting of

radio, television, fi lms, press and print publications,

advertising and traditional modes of communication such as

dance and drama, plays an effective role in helping people

to have access to free fl ow of information. It is the apex

body for formulation and administration of rules, regulations

and laws for the same. It also caters to the dissemination of

knowledge and entertainment to all sections of the society,

striking a careful balance between public interest and

commercial needs, in its delivery of services. It is responsible

for international cooperation in the fi elds of mass media, fi lms

and broadcasting and interacts with its foreign counterparts

on behalf of Government of India.

The Mandate of the Ministry Includes

News Services through All India Radio (AIR) and

Doordarshan (DD) for the people including Indians

abroad.

Development of Broadcasting and Television

Development and promotion of fi lm industry.

Organization of fi lm festivals and cultural exchanges.

Advertising and Visual Publicity on behalf of the

Government of India

Administration of the Press and Registration of Books

Act, 1867 in respect of newspapers.

Administration of the Cinematograph Act, 1952 in

respect of certifi cation of fi lms.

SPOT INFORMATION+ 91 11 23384995

WEBSITE

www.mib.nic.in

[email protected]

jsfi [email protected]

MINISTER FOR INFORMATION & BROADCASTING

Shri Arun Jaitley

MINISTER OF STATE FOR INFORMATION & BROADCASTING

Col. Rajyavardhan Rathore

SECRETARYBimal Julka

JS FILMSK. Sanjay Murthy

DIRECTOR (DFF) C Senthil Rajan

Ministry of Information & Broadcasting

Government of India

Film Sector Initiatives

Ministry of Information and Broadcasting Government of India


13Cannes Film Market

Dissemination of information about India within and outside the country

through publications on matters of national importance.

Research, reference and training to assist the media units of the

Ministry to meet their responsibilities.

International cooperation in the fi eld of information & mass media

The execution of the fi lm mandate of the Ministry of Information & Broadcasting is carried out through the following bodies

Films Division

Central Board of Film Certifi cation

National Film Archives of India

Directorate of Film Festivals

IFFI Secretariat

Film and Television Institute of India, Pune

Children’s Film Society of India

Satyajit Ray Film and Television Institute, Kolkata

National Film Development Corporation

The Ministry of Information & Broadcasting is responsible for international cooperation in the

fi elds of mass media, fi lms and broadcasting and interacts with its foreign counterparts on behalf of

Government of India.




Single Window for Film Shooting in India – Film Facilitation UnitThe Ministry of Information & Broadcasting is in the

process of setting up of a Film Facilitation Unit

A single window service for promoting

fi lm shooting is all set to become

operational shortly. As part of providing

a single window mechanism for facilitating

shooting in India, the Ministry of Information

& Broadcasting, Government of India is

proposing to set up a Film Facilitation Unit.

The National Film Development Corporation

(NFDC) has been nominated as the executing

agency for setting up of/operating a Film

Facilitation Unit. The primary tasks of the Unit

would be:-

i. Act as a facilitation point for the fi lm

producers in assisting them to procure

requisite permission.

ii. Disseminate information on shooting

locations and the facilities available with

the Indian fi lm industry for production/

post production.

iii. Work closely with State Governments in

assisting them to set up similar facilities.

The Film Facilitation Unit would also develop

a dedicated online portal. The Website will

SEND YOUR APPLICATIONS FOR SHOOTING FEATURE FILMS/TELEFILMS IN INDIA TO:

DESK OFFICER (FI), A WING, ROOM NO. 107

MINISTRY OF INFORMATION AND BROADCASTING

GOVERNMENT OF INDIA

SHASTRI BHAVAN, NEW DELHI - 110001 INDIA

Email: usfi [email protected]

PH: +91-11-23384995




also include information on state-wise

facilities like transport, hospitality, medical

services and other local information for the

applicants.

After making an application online, fi lmmakers

can expect clearance anytime from six to eight

weeks, depending on the shooting location --

shooting in border areas usually takes a longer

processing time due to security reasons. The

fi lmmaker would submit the script to the

Ministry of Information & Broadcasting for

clearance as before.

Effectively, the single window system for

fi lm shoot permission will enable fi lmmakers

to pursue their respective cases with the

Ministry of Information & Broadcasting and

not deal with various Ministries, departments

and agencies.

The Ministry of Information & Broadcasting is in the process of setting up the Film Facilitation Unit which will also include an online portal which will

be the resource base and also answer queries of line producers and fi lm producers.




India has signed Audio-Visual co-

production agreements with the UK,

Canada, Germany, Brazil, Italy, Spain,

Poland, China and New Zealand. We have an

existing Protocol with France. Negotiations

are on to fi nalise Co-Production treaties with

Korea, Australia among other countries. These

agreements are expected to help producers to

pool in their resources and gain wider market

accessibility.

It is now possible for fi lmmakers of different

countries to come together and make fi lms

under bilateral co–production agreements.

New markets and audiences would be available

for the product, especially if collaborations

and partnerships are between nationals of

different countries.

Each agreement identifi es the Competent

Authority for the country concerned to whom

applications are made for approval as co–

production and other purposes. In India, it is

the Ministry of Information and Broadcasting,

Government of India.

The Agreements identify who the co-producers

can be, the minimum and maximum permissible

share of each co producer, possibility of co

producers from third countries, provisions

for sharing of revenue, copyrights and prizes.

They also provide for contribution by the co-

producer of each country and incurrence of

production and post-production expenses,

shooting etc in each country for artistes.

Many countries provide access to public funds

or subsidized funds to fi lmmakers. The fi lms

co-produced under these agreements are also

eligible for such fi nancing. Collaborations for

an Indian fi lmmaker would include knowledge

and use of different technical expertise and

processes, exchanges of styles of fi lmmaking,

sales and distribution of fi lms by a local expert

and the advantages of being a National Film in

a European country. This will come along with

the international exposure the project would

receive in terms of publicity and audience.

The Government of India does not provide

direct public funds or subsidized co-production.

However, fi lmmakers can apply for fi nancial

support of co-production fi lm projects through

National Film Development Corporation.

di h i d A di Vi l

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Audio Visual Co-Production AgreementsIt is now possible for fi lmmakers of different countries

to come together and make fi lms under bilateral

co-production agreements.



India has a huge advantage of being part of

a growing fi lm industry and a huge audience.

The other benefi ts are that the co-production

is treated exactly like a national fi lm and is

eligible for the National Film Awards and

the Indian Panorama section of IFFI. Also,

co-production opens up the Indian consumer

market to the foreign producer.

There is a large pool of technical talent

available across the sub-continent along

with the sophisticated infrastructure and

equipment needed for fi lmmaking. These are

coupled with the comparatively low costs of

fi lmmaking in India. Also India possibly has

the largest variety of locations available in one

country – from snow clad mountains to hills

and valleys, rivers, seas and beaches to green

pastures and deserts. An extensive road, rail

and air travel network exists. The television

and cable penetration is also very deep.

Text of India’s co-production agreements:

p. 179 onwards

Co-production agreements help producers to pool in their resources and gain wider market accessibility.




Soon, India will have an updated and

contemporary Cinematograph Act.

Government is proposing to bring in

amendments to the existing Cinematograph Act

with a view to enable the Act to meet the modern

requirements of certifi cation process. Duly taking

into consideration recommendations of experts

and stake holders, the amended Act is expected

to address, among others, the following :-

Composition of Advisory panels and their

selection process;

Guidelines for certifi cation;

Classifi cation of certifi cation of fi lms in a

more modern and universal manner;

Enhancing the jurisdiction of the Appellate

Tribunal.

Bringing in stringent penal provisions for copy

right violations.

Stringent Penalties for piracy

Piracy is one of the major concerns of the fi lm

industry. The proposed amendment seeks

to address this issue effectively by bringing

in stringent penal provisions for copy right

violations.

Online Certifi cation Process- The existing online

mechanism of Central Board of Film Certifi cation

would be strengthened and the entire certifi cation

process right from application stage to issuance

of certifi cate, would be made online. This

would ensure a user friendly and transparent

atmosphere. The online process would also

ensure effective monitoring and timely delivery

of service.


New Cinematograph ActThe Government is set to amend the Cinematograph

Act 2052, to enable it meet the present day challenges

and make the entire certifi cation process transparent

and speedy




Ministry of Information &

Broadcasting’s proposals for carrying

out an Anti-Piracy Initiative in the

audio-visual sector.

Dissemination of multi-media campaigns on

piracy through audio-visual media, internet,

print media, etc.

Training programmes and workshops to

sensitize police, judicial, administrative

offi cials, multiplex and cinema hall owners

about the Copyright Act.

Conduct of research on the effects of

piracy and to enable development as

well as implementation of public-private

strategies to combat piracy.

A dedicated web portal.

Production of a fi lm/documentary.

Engaging with M/o HRD with the goal of

including anti-piracy awareness material

in the curriculum of the schools and

colleges.

Road shows /Street Plays on creating

awareness among society.

Programme on building awareness in

Schools & Colleges through Debate/Essay

writing/painting competitions.

This scheme will be implemented through

leading business chambers like FICCI,

ASSOCHAM, CII and others.

Taking piracy out of Indian cinemaThe Indian government has been taking a lot of

initiatives to do away with piracy.



The National Museum of Indian Cinema

is a prestigious project of the Ministry

of lnformation & Broadcasting, Govt.

of India and is executed by Films Division, the

premium media unit of the Ministry.

The "National Museum of Indian Cinemas" will

not only provide a store house of information

to the laymen but it will also help fi lm makers,

fi lm students, enthusiasts and critics to know

and evaluate the development of cinema as

a medium of artistic expression not only in

the country but also in all parts of the world.

The Museum is developed in two phases. The

Phase-I is housed in Gulshan Mahal a heritage

building and the Phase-ll is a new building

adjoining Culshan Mahal which will have two

state-of the art theatres apart from display

galleries. The Phase-l is ready and Phase-II

will be ready by the end of 2015.

The museum will be a ready-reckoner of

the history of Indian cinema showcasing

technological aspects of production and


National Museum of Indian CinemaThe museum will be a ready-reckoner of the history of

Indian cinema during the past 100 years.

The Purpose and Objectives of the Museum

are to encapsulate the socio-cultural history

of India as revealed through the evolution

of cinema; To develop as a research centre

focusing on the effect of cinema on society;

To exhibit the work of the noted directors,

producers, Institutions etc for the benefi t

of visitors/fi lm enthusiasts; To arrange

seminars, workshops for fi lmmakers & fi lm

students; To generate interest in the future

generation in the fi eld of fi lm movement.



screening of fi lms, as well as its social

aspects during the past 100 years. Through its

interactive galleries, it will trace the evolution

of celluloid from the Lumiere Brothers, Raja

Harishchandra onwards, and showcase Indian

cinema in three stages - silent era, golden

era and the modern era. It will portray the

footsteps taken by Indian cinema, from the

period of silent fi lms to the studio period, and

then recreate the times when stars and mega

stars dominated the silver screen.

An Advisory Committee headed by renowned

fi lmmaker Shyam Benegal has guided the

Films Division in establishing the museum.

Visitors can also watch clips of old classics on a

number of monitors or listen to rare fi lm music

from the past. There is also an interesting

collection of posters of landmark movies from

across India. A section on regional cinema is

also on display.

Many famous studios of yesteryears like

Mehboob Studios, RK Studios and Prasad

Studios have donated equipment to the

museum. Some private collectors too have

come forward to donate items. The Films

Division, which was set up in 1941, to produce

short fi lms to disseminate information during

war time, has also displayed old Eymo and

Mitchel cameras, recording equipment etc. Also

of interest are some even older instruments

that created an illusion of movement, which

were precursor to the movie camera.

NMIC has been curated by the National

Council of Science Museums, Kolkata, under

the Ministry of Culture, which manages

55 various kinds of museums in the country.




The Ministry of Information &

Broadcasting has launched the National

Film Heritage Mission (NFHM) to digitize

best of Indian cinematic works and archive

them for the benefi t of future generations.

NFHM is now functional to take care of

digitization and restoration of fi lm heritage

and is being implemented by National Film

Archive of India, Pune.

NFHM’s aim is to restore and archive fi lms for

preservation and dissemination of Indian fi lm

cultural heritage. It will restore and conserve

precious and classic fi lms of the past 100

years of Indian cinema.

NFHM will also conduct training, workshops

and courses in fi eld of conservation,

preservation and archiving in co-ordination

with international agencies that are experts in

this fi eld.

The following are the objectives of the NFHM:

To undertake fi lm condition assessment of

the fi lm collection and to ascertain the left

over life of the fi lm.

Preventive conservation of fi lm reels.

2k/4k picture and sound restoration of

landmark feature fi lms and shorts of

Indian cinema and recording of new

picture and sound inter-negatives of each

fi lm.

Digitization of feature fi lms and shorts.

Construction of archival and preservation

facilities for preservation of material

restored under NFHM in dust free, low

humidity, and low temperature conditions

at NFAI campus, Pune.

NFHM’s aim is to restore and archive fi lms for preservation and dissemination of Indian fi lm cultural heritage. It will restore and conserve

precious and classic fi lms of the past 100 years of Indian cinema.


National Film Heritage MissionNational Film Heritage Mission’s aim is to restore and

archive fi lms for preservation and dissemination of

Indian fi lm cultural heritage.



The National Centre for Excellence in

Animation, Gaming and Visual Effects

is soon to be established through the

public-private partnership mode for providing

skilled workforce for the industry.

The National Centre for Excellence would

establish and implement benchmarks in

teaching and training standards of this sector

and provide leadership role to the whole

industry.

The centre aims to become a self sustainable,

creativity driven and industry friendly institution

that promotes high quality education and

research

With an intention to provide skilled work force,

it aims to offer a competitive edge to Indian

Industry by developing skills for original IP

content.

Since the successful students would be working

in the industry, the latter will be in a position to

take up Co-Production projects in collaboration

with foreign companies. Besides, the proposed

centre will provide research platform for

projects.

It will also enable and facilitate access to

resources for students to learn and develop

their creative and cognitive skills. Regular

interactions will be conducted with the

academia, private and corporate community to

create synergies.

Flexible and innovative education structure

will be devised to enhance creativity and

commitment that curriculum will be at par with

the Global Standards. The centre wil provide

continuous support to animation, gaming &

visual effects community to provide HR (effi cient

human resource) platform for related projects

Above all, it will act as an incubation center

for developing competencies and support

commercial ventures. It will also engage

private players in appropriate roles involving

active participation resulting in growth of the

institute.

Towards maintaining high standards in

imparting education in the fi eld of animation,

gaming and visual effects as well as bringing in

best administrative practices, it is proposed that

the centre would be set up with the help and

support of the industry and other stakeholders.


National Centre for Excellence in Animation, Gaming and Visual EffectsThe National Centre for Excellence will establish and

implement benchmarks in teaching and training stan-

dards of the sector and provide a leadership vision to the

whole industry.



INDIAN FILMPRODUCTION CENTRES

Top fi lmmaking centres of India


26 India Film Guide 2015

INDIA FACTS

THE OFFICIAL PORTAL

http://india.gov.in

CAPITAL

New Delhi

POLITICAL SYSTEM

Democracy

ADMINISTRATIVE

DIVISIONS

29 States and 7 Union Territories

POPULATION

1.2 billion

LANGUAGES

Hindi, English and 21 other national languages.

AREA

India measures 3,214 km from north to south and 2,933 km

from east to west with a total land area of 3,287,263 sq km.

CLIMATE

Southern India enjoys tropical climate but northern India experiences temperatures from sub-zero degrees to 50 degrees Celsius. Winters in northern India are usually during December

to February while spring blossoms in March and April. Monsoons arrive in July and stay till September, followed by autumn in

October and November.

Indian Film Production Centres



CURRENCY

RupeeTELEPHONE CODE

+91

TIME ZONE

ISTINTERNET

.in

AIRPORTS

The Airports Authority of India (AAI) manages a total of 125 Airports.

INTERNATIONAL AIRPORTS

Ahmedabad, Amritsar, Bengaluru, Calicut, Coimbatore, Chennai, Gaya, Goa, Guwahati, Hyderabad, Imphal, Jaipur, Kochi, Kozikhode,

Kolkata, Lucknow, Mumbai, Mangalore, New Delhi, Nagpur, Port Blair , Srinagar, Thiruvananthapuram,

Varanasi, Tiruchirapalli, Visakhapatnam

RAILWAYS

The Indian Railways network is spread over 64,000 km, with 12,000 passenger and 7,000 freight trains each day from 7,083 stations plying 23 million travellers and 2.65 million tonnes of

goods daily.

ROADWAYS

India has the second largest road network in the world of over 4.1 million km.








CUTTACK



India is probably the world’s most

culturally and linguistically diverse

nation. Its people speak 22 different

languages, besides hundreds of dialects. Is it

any wonder then that India is a land of many

distinct cinematic traditions?

The 1000-odd movies that the country annually

produces are made in a number of languages,

each with its own distinct literature, history,

theatre and music.

Indian fi lms are produced in several centres

around the country. Each of these fi lmmaking

cities serves as the hub of cinema in one

prominent language.

Mumbai, regarded as India’s movie capital,

hosts the Hindi fi lm industry that has a pan-

Indian footprint. Marathi-language fi lms are

also produced in the city that is inextricably

intertwined with the history of Indian cinema.

Chennai, Kolkata, Hyderabad, Thiruvanan-

thapuram, Bangalore, Bhubaneswar and

Guwahati are the other major Indian cities

where fi lms are produced.

While the distribution of these so-called

‘regional’ fi lms is largely limited within the

territories for which they are made – they do

not have the nationwide reach of Bollywood

blockbusters – they add immensely to the

depth and range of Indian cinema.

Text: Saibal Chatterjee

FILMMAKING CENTRES OF

INDIA




India is the largest fi lm producing

country in the world and its output

has a global reach. Here are top

fi lmmaking Indian cities which

serve as the hub of cinema in their

respective regional languages.

India is the largest fi lm producing

country in the world and its output

has a global reach. Here are top

fi lmmaking Indian cities which

serve as the hub of cinema in their

respective regional languages.

Indian fi lms are produced in several centres around the country. Each of these

fi lmmaking cities serves as the hub of cinema in one prominent language






A large chunk of the Hindi fi lms produced in

Mumbai constitute what is usually described

as Bollywood, a label used for a cinematic

tradition built on a crowd-pleasing mix of

melodrama, romance, moral confl ict and music.

MumbaiMaharashtra

The bustling western Indian metropolis is the heart of the Indian movie industry, producing nearly 200 fi lms a year in the

Hindi language.

It also, along with the nearby city of Pune, produces Marathi-language fi lms, which, in the silent era and beyond, thrived in the hands of pioneering stalwarts like V Shantaram and Bhalji Pendharkar, among others.

A large chunk of the Hindi fi lms produced in Mumbai constitute what is usually described as Bollywood, a label used for an old cinematic tradition built on a formulaic and crowd-pleasing mix of melodrama, romance, moral confl ict and music.

This extravagant form of storytelling is extremely popular in the other fi lmmaking centres as well. However, it is by no means the only kind of cinema that emerges from Mumbai.

The city has always had two distinct streams of fi lmmaking – one aimed at providing glitzy

and emotionally satisfying entertainment to the masses; the other designed to appeal to a niche audience with a taste for more realistic movies.

There have of course been occasions when these two separate approaches have merged in the same fi lm and resulted in timeless classics such as Mother India, Mughal-e-Azam, Deewar and Lagaan.

The A-list Mumbai cinema stars, objects of adulation around the country and by the Indian Diaspora, power the mainstream Bollywood industry.

Mumbai played a key role in the evolution of parallel fi lms in the late 1960s and 1970s, thanks to the efforts of directors like Shyam Benegal and Govind Nihalani.

Its fi lmmakers also drove the global spread of the Bollywood narrative idiom in the aftermath of major commercial successes in the past decade and a half.






Tamil cinema has a following not only in the

state of Tamil Nadu but also in the other

southern states of India, besides among

the Tamil expatriate community

across the world.

ChennaiTamil Nadu

Chennai (formerly Madras) is home to the hugely successful and productive Tamil movie industry, which has, over

the decades, given Indian cinema a few of its biggest and most abiding stars.

The Tamil movie industry has seen fi lm production since the mid 1910s. It has constantly kept pace with the growth of the rest of Indian cinema.

In fact, at several junctures in its history, it even set the pace for others to follow, especially in matters of technology and fi lm production practices.

Tamil cinema has a following not only in the state of Tamil Nadu but also in the other southern states of India, besides among the Tamil expatriate community across the world.

Hindi versions of Tamil box offi ce hits as well as bilingual productions mounted in Chennai have been successful around India ever since 1948’s Chandralekha opened the sluice-gates for nationally distributed fi lms from this part of India.

The dominant strain of Tamil movies, like that of Hindi popular cinema, hinges on the crowd-pulling power of its male superstars, notably veterans Rajinikanth and Kamal Haasan.

But in the past as well as in recent times, the industry has seen a steady output of fi lms from young directors working outside the conventional star system with great success.

For audiences around the country, Mani Ratnam, who also makes fi lms in Hindi, is one of the better known Chennai directors.






It is a tradition that dates back to the silent

era, a period during which Bengali cinema,

unlike other cinemas that were beginning

to take roots in that period, produced social

satires and dramas adapted from literary

works rather than mythological epics.

KolkataWest Bengal

Bengali-language cinema, known the world over for the celebrated masterpieces of Satyajit Ray, is produced in Kolkata from

studios located largely in Tollygunge in the city’s southern suburbs.

Many of the pioneers of early Indian cinema worked in this city in the silent era. In fact, Hiralal Sen is known to have made fi lms here well before India’s offi cially recognized fi rst full-fl edged fi ction fi lm, D.G. Phalke’s Raja Harishchandra, was screened in Mumbai.

Commercial Bengali cinema has thrived right since the silent era, barring a few troughs in the 1980s and 1990s caused by the death of its most luminous superstar Uttam Kumar and the retirement of his on-screen partner Suchitra Sen.

But it is for the critically acclaimed works of three masters – Ray, Ritwik Ghatak and Mrinal Sen – that Kolkata enjoys global fame. Directors such as Tapan Sinha and Tarun Majumdar built their careers around fi lms that struck a fi ne balance between artistic merit and commercial potential.

More than their counterparts in any of the other fi lm production centres of India, screenwriters and directors in Kolkata, especially those that work in the non-mainstream sphere, continue to draw inspiration primarily from literature.

It is a tradition that dates back to the silent era, a period during which Bengali cinema, unlike other cinemas that were beginning to take roots in that period, produced social satires and dramas adapted from literary works rather than mythological epics.






On several occasions in the last decade,

Telugu fi lms accounted for more releases

in a year than cinema in any other Indian

language, including Hindi.

HyderabadAndhra Pradesh

Hyderabad is the hub of Telugu cinema, which is one of the most prolifi c and commercially consistent of all the

cinemas of India.

Between Telengana and Seemandhra, the two separate states that the erstwhile Andhra Pradesh has recently been split into, there are 2800 movie halls, the highest in any single region of India.

On several occasions in the last decade, Telugu fi lms accounted for more releases in a year than cinema in any other Indian language, including Hindi.

Many big-budget Hindi and Tamil fi lms are offi cial remakes of Telugu hits, a sure measure of the mass appeal of movies made in Hyderabad.

In terms of artistic quality and global recognition, Telugu cinema may lag behind fi lms made in Malayalam and Tamil, but it continues to be the most robust of the southern industries.

Hyderabad has some of India’s best fi lm production studios. They have been set up by established names of the Telugu movie industry – men such as B. N. Reddy, L.V. Prasad, Akkineni Nageswara Rao and D. Rama Naidu.

Until about three decades ago, large sections of the Telugu movie industry operated out of Chennai. But today, Hyderabad is where all the Telugu moviemaking action is focused.






When the movie industry in this part

of the country took off in the 1950s, it not

only quickly caught up with the rest of

Indian cinema, it also established itself at

the forefront of the Indian parallel

cinema movement.

ThiruvananthapuramKerala

Thiruvananthapuram (formerly Trivandrum) is the capital of the southern Indian state of Kerala. The city,

along with Kochi, serves as the nerve-centre of cinema in Malayalam.

Although fi lms were made in the state in the silent era, cinema in Kerala was late to fl ourish and at the time of India’s Independence in 1947, only a handful of Malayalam fi lms had been produced.

But when the movie industry in this part of the country took off in the 1950s, it not only quickly caught up with the rest of Indian cinema, it also established itself at the forefront of the Indian parallel cinema movement.

Malayalam movie superstars Mohanlal and Mammootty are known across the country

and directors such as Adoor Gopalakrishnan and Shaji N. Karun and the late G. Aravindan are feted at fi lm festivals around the world.

When Malayalam cinema began to assume the proportions of a full-fl edged industry post-Independence, it was headquartered in Chennai. It was only by the late 1980s that it moved completely to its current location in Thiruvananthapuram.

Like the other cinemas of India, Malayalam movies are divided between a popular genre and a socially relevant strand.

Cinema from Kerala gained national and international prominence, riding on the fi lms made by Adoor and Aravindan in the 1970s and 1980s. The tradition of making realistic and meaningful cinema continues to this day.






The 1950s marked the advent of

Dr. Rajkumar, whose popularity

as a lead actor in mythological epics helped

Kannada cinema achieve new heights.

In Bangalore, India’s Silicon Valley, fi lms are made in the Kannada language. The fi rst Kannada fi lm was made in the talkie

era, and the industry’s growth was steady until the late 1940s.

The 1950s marked the advent of Dr. Rajkumar, whose popularity as a lead actor in mythological epics helped Kannada cinema achieve new heights.

The 1970s and 1980s are generally regarded as the golden era of Kannada cinema, which

was enriched by the work of directors like B.V. Karanth, Girish Karnad and Girish Kasaravalli.

In 1970, Samskara, based on a novel by celebrated writer U.R. Ananthamurthy and directed by Pattabhi Rama Reddy, inaugurated the parallel cinema movement in Karnataka.

While alternative cinema has continued to thrive in the state, commercial cinema, too, has sustained itself despite not quite enjoying the fi nancial clout of Tamil and Telugu fi lms.

BangaloreKarnataka






Bhojpuri cinema, which also caters to third

and fourth generation migrants in Surinam,

Mauritius, Trinidad & Tobago, Fiji and Guyana,

has its own star system and a committed

audience base.

The central Indian city of Lucknow is the base of Bhojpuri cinema, which is produced largely in and for eastern Uttar

Pradesh and western Bihar.

The fi rst-ever Bhojpuri-language fi lm, Ganga Maiyya Tohe Piyari Chadaibo (Mother Ganges, I Will Offer You a Yellow Sari), was released only in the early 1960s. But the industry grew steadily as the demand from people who speak the dialect in India and elsewhere increased.

Bhojpuri cinema, which also caters to third and fourth generation migrants in Surinam, Mauritius, Trinidad & Tobago, Fiji and Guyana, has its own star system and a committed

audience base, but it has failed to build on the opportunities to break into the national mainstream.

The last couple of decades have seen a major spurt in the production of Bhojpuri fi lms, but these have all been run-of-the-mill potboilers designed for an audience that seems to be undemanding and easy to please.

In parts of India where Bhojpuri speakers live and work, these fi lms continue to be exceedingly popular. But since most of these fi lms are made on tight budgets and follow rushed production timelines, they tend to be rather low on technical fi nesse.

LucknowUttar Pradesh

PatnaBihar






Odia cinema developed its own idiom

thanks to the efforts of Gour Prasad Ghosh

and Parbati Ghosh. The duo produced

several National Award-winning fi lms,

including the epochal Kaa.

In the eastern Indian state of Odisha, fi lms are made in Bhubaneswar and Cuttack.

The fi rst Odia-language fi lm was made in 1936, but until the 1950s only a handful of more titles were produced.

Back then, the Odia fi lm industry did not have production facilities of its own. Films in the language had to depend on Kolkata, which made movie-making in Odisha diffi cult and unviable.

In the late 1950s, the fi rst cooperative venture to produce, distribute and exhibit Odia fi lms was set up by Krushna Chandra Tripathy.

The organization was named Utkal Chalachitra Pratisthan, and it produced several fi lms in the 1960s that gave Odia cinema a distinct identity.

In 1961, another production house, Pancha Sakha, was set up by amateur artiste Dhira

Biswal, who produced four hugely popular fi lms. His fi rst production, Nua Bou, created a sensation all across the state of Odisha.

Odia cinema developed its own idiom in subsequent years thanks to the efforts of the husband-wife team of Gour Prasad Ghosh and Parbati Ghosh. The duo produced several National Award-winning fi lms, including the epochal Kaa.

Other production houses took roots in the 1970s, including Diamond Valley Productions, set up by entrepreneur Sarat Pujari.

In 1975, the state government stepped in to promote cinema by setting up the Odisha Film Development Corporation. Five years later, the Kalinga Studio came up with the support of Chennai’s Prasad Studios.

Odisha currently produces an average of 20 fi lms a year.

BhubaneswarOdisha






At the turn of the millennium, a ray of

hope had emerged in the form of a spurt in

Bollywood-inspired Assamese melodrama

that found takers among the mass audience.

Assamese fi lms, produced in north-eastern Guwahati, are a constant presence in India’s National Awards.

Yet the fi lm industry in Assam remains commercially unviable.

Constantly under the shadow of Bollywood fi lms, the state has not been able to develop a distribution and exhibition system that can prop up locally made fi lms and make them viable.

At the turn of the millennium, a ray of hope had emerged in the form of a spurt in

Bollywood-inspired Assamese melodrama that found takers among the mass audience in the state. But the trend was short-lived.

Despite the effort of the pioneers and the work of their successors in the 1950s and 1960s (Bhupen Hazarika, Nip Barua, Pudum Barua), Assamese cinema has been dragged down by the paucity of exhibition outlets.

Despite all the odds, the names of the late author and fi lmmaker Bhabendra Nath Saikia and the still-active Jahnu Barua shine bright.

GuwahatiAssam

And there is more…Besides the above production centres, fi lms are made in Manipuri in

Imphal, in Gujarati in Ahmedabad, and in Punjabi in Chandigarh. Indian

fi lms are also made in numerous dialects.





INDIAN FILM SECTOR

Higlights from FICCI-KPMG Report 2015


Indian Film Sector Highlights


2014 could well be termed as the year of

‘introspection and reality check’ for the

Indian fi lm industry. During the year,

the gap between box offi ce collections of the

top 10 fi lms and the contribution of the rest of

the industry widened further. The category-A

fi lms with top league actors continued to

perform well at the box offi ce, however the

same was not true for fi lms which lacked

both strong content and a top league actor

to attract audiences to the theatres. Industry

discussions indicate that 2014’s content did

not deliver at par with 2013. While there were

strong content driven fi lms this year which

delivered high returns on investment, the

proportion of such fi lms was less than the

previous year. With rising average ticket prices

and availability of alternate entertainment

platforms, the audience today seems to have

become more discerning when it comes to

watching fi lms in theatres.

Television broadcasters became more

strategic with their fi lm acquisition budgets,

signifi cantly impacting the Cable & Satellite

rights (C&S) of most fi lms. While prices of

category-A fi lms continued to hold ground,

the rest of the fi lms took a beating either in

terms of price or ability to sell the title. There

were very few bulk deals and certain fi lms,

despite crossing INR1 billion at the box offi ce,

were unable to fi nd buyers.

The exhibition sector took bold strides in

expanding its footprint – both organically

and through acquisitions. Many players have

adopted the organic route to build presence in

new markets, especially in the tier II and

tier III cities. The year also saw changes to

the list of the largest exhibition chains with the

emergence of a new player, Carnival Cinemas.

Carnival acquired three cinema chains-

HDIL Broadway, Big Cinemas and Stargaze

Entertainment. Further, consolidation has

brought multiple benefi ts to the otherwise

fragmented industry.

Now, fi lm makers have a wider reach and at

the same time interact with relatively lower

number of exhibitors. The industry is soon

expected to see national distributors playing a

far greater role in release of a fi lm. Additionally,

consolidation is stimulating growth in the in-

cinema advertisement platform. Advertisers

are now offered a far greater reach and

Films: New Growth ProspectsWith rising average ticket prices and availability of

alternate entertainment platforms, the audience today

seems to have become more discerning when it comes

to watching fi lms in theatres




impact with national chains having a pan India

presence. The industry is witnessing changes

in in-cinema advertisement business models

with contracts shifting from ‘lump sum’ deals

to ‘pay per contact’ which is considered as a

better metric for measurement of the effi ciency

of the medium.For exhibitors the obvious

benefi t of economies of scale is being refl ected

through rationalisation of cost structures.

The industry (production houses) needs to

take a step back and deliberate on how it can

address the fundamental issues plaguing the

profi tability of the sector and what measures it

can take to build sustainable business models.

The lack lustre performance of the two key

revenue segments for the industry: theatrical

and cable and satellite rights has sent many

fi lm makers back to their drawing boards to

reassess the viability of their future projects.

Film industry performance

Revenues (INR

Billion)

2014 2015p 2016p 2017p 2018p 2019p CAGR

2014-19

Domestic Theatrical 93.5 99.9 113.6 123.5 133.7 145.1 9.2%

Overseas Theatrical 8.6 9.6 10.9 11.9 12.9 13.9 10.1%

Home Video 1.2 1.0 0.9 0.8 0.7 0.6 -12.2%

Cable & Satellite

Rights

14.7 15.5 17.6 19.2 20.8 22.5 8.8%

Ancillary Revenue

Streams

8.4 10.3 12.5 15.4 18.3 21.8 21.0%

Total 126.4 136.3 155.6 170.7 186.3 204.0 10.0%

Source: KPMG in India analysis




INDIAN M&E

INDEX $1.5 billion

1500

826

161million 2014

Box Offi ce Collections

275million

Internet User base

175 million

Mobile Internet Users

Feature fi lms produced in India

960 millionMobile Subscribers

TV Channels

TV Households

“When you look at the world—and pick your markets—you have to believe India is one of the major markets of the 1st century”Bob Bakish, president of Viacom International Media Networks

India has 7 screens per million people in comparison with 125 per million in the US.

“Bollywood is India’s biggest cultural entertainment export” Grammy-nominated DJ and producer Paul van Dyk

TV revenue in India is set of to grow at a 14% annual CAGR in the years 2014 through 2018 according to KPMG




INDIAN M&E

INDEX

14%

Television Grew by

18%

Radio Grew by

13%

Animation&VFX Grew by

45%

Digital Advertising Grew by

10%

Films Grew by

8%

Print Grew by

22%

Gaming Grew by

Facebook has 125 million users in India, more than 100 million utilise the platform on their mobile phones at least once a month.

India will surpass the US to lead as the largest Facebook user base on mobile by 2017

Currently there are 175 million mobile Internet users in India. It is expected to grow to 457 Million users by June 2019 according to KPMG

338% growth in ecommerce ad-spends (INR 5 bn) on digital platforms

Search and display lose share to Social (18%), Mobile (14%), and Video (12%)




The Indian fi lm production landscape is

highly fragmented with a combination of

few renowned indigenous fi lm production

houses, international studios and numerous

independent fi lm producers.

The industry has witnessed the entry of new

players such as Multi Screen Media (under the

banner MSM Motion Pictures) in 2013 and Zee

Entertainment Enterprises Ltd. (through its

company Essel Vision Productions) in 2014.

The entry of international studios such as

Disney India, Viacom 18 Motion Pictures and

Fox Star Studios in the last few years seems

to have made the industry more organised

in the way fi lms are produced in India by

bringing in leading industry practices of fi lm

production from western markets, thereby

increasing effi ciency and placing greater focus

on pre-production activities such as concept

development, audience research, etc.

Even many of the traditional family run

production houses now seem to understand

the importance of bringing in processes and

structure to the movie making business and have

upped their act to become more professional

and corporatised in their operations.

Increasing corporatisation and professionalism

in the fi lm fraternity has started to pave way for

the establishment of fi lm and entertainment

focussed investment funds. 2014 saw launch

of four new venture funds focussing on this

industry.

The four new venture funds are Indus Media

Capital, HBS Raksha Movies Fund, Bend it Media

and Third Eye Cinema Fund (TECF).

ProductionIncreasing corporatisation and professionalism in the

Indian fi lm fraternity has started to pave way for the

establishment of fi lm and entertainment focussed

investment funds




Digitisation of screens has allowed

distributors to release fi lms

simultaneously across thousands of

screens, as a result of which almost 60-80 per

cent of theatrical revenues are now collected

in the fi rst week of release,06 compelling

fi lmmakers to generate enough buzz to attract

maximum footfalls within the fi rst weekend

itself.

Thus, marketing budgets which were negligible

a decade back, now account for a signifi cant

portion of the overall cost of production.

Additionally, fi lm makers now have an

elaborate mix of marketing media: television,

print, radio, OOH, in-cinema advertisements,

social media, live events, merchandising,

mobile apps, mobile games, and other digital

media at their disposal, the judicious use

of which is critical to create the maximum

possible impact. Like box offi ce collections,

the number of tweets, Facebook likes and

YouTube hits have also become an important

key performance indicator (KPI) for the movie

success.

Film-based mobile applications and games

have become an emerging trend while city-

wise marketing campaigns have almost

become the norm. Given the varied number

of marketing and promotional avenues, the

huge P&A (Print and advertising) costs are

becoming a challenge for fi lms with tight

budgets as there is a minimum spend required

to reach a threshold audience base. P&A cost

for a Category A fi lm (released across 3000+

screens) can be anything above INR200

million, for a Category B fi lm it could range

between INR 150-180 million and for a

Category C fi lm at least INR 100 million.

Given this backdrop, many fi lmmakers have

started exploring campaign and box-offi ce

analytics to gauge the effectiveness of their

campaign and take appropriate measures to

maximise the return on investments. Various

fi rms such as IBM, Persistent Systems, Google,

Prime Focus Technologies mGage, Ormax etc.

are now offering solutions especially designed

for the fi lmmakers to make strategic decisions

about their budgets, conduct costbenefi t

analysis with minimal risks, measure audience

engagement across various touch points.

The release window continues to play an

important role in deciding the release strategy

for any fi lm. The fi lmmakers consciously decide

to release their fi lms during festivals,long

weekends and summer/winter vacations

(school breaks), etc. and avoid clashes with

any major sporting events. For example, only

two out of the 20 movies that were released

during the IPL 2014 performed well at the box

offi ce.

DistributionLike box offi ce collections, the number of tweets,

Facebook likes and YouTube hits have also become

an important key performance indicator (KPI) for the

movie succes




2014 saw another round of consolidation

with Carnival Cinema’s entry into the big

league through three major acquisitions:

HDIL Broadway (10 screens), Reliance owned

Big Cinemas (252 screens), and Stargaze

Entertainment from Network18 Media11 (30

screens). Other prominent acquisitions included

Inox Leisure Ltd. acquiring Satyam Cinemas12

(38 screens) and Cinepolis acquiring Fun

Cinemas (83 screens). Post consolidation, PVR

Cinemas continues to be the leading exhibitor

with 462 screens followed by Inox Leisure

Ltd. with 365 screens and Carnival Cinemas

with 330 screens. The industry might witness

another round of consolidation soon with the

major multiplex chains acquiring smaller

regional chains.

Even though India leads the world average in

terms of movies produced each year, the gross

under penetration of screens continues to be

a cause of worry for the industry as domestic

theatricals is the primary source of monetising

content for most fi lms. There are just 7 screens

per million people in India, unlike in the U.S.,

where there are 125 screens per million

people.

Additionally, the screen distribution is also

skewed in favour of urban centres. Mumbai

and Delhi/UP circuit together constitute

approximately 60 per cent of the total box

offi ce collections for most Hindi fi lms.

Thus, besides inorganic growth, many

exhibitors are also investing in organic

expansion especially in tier 2 and 3 cities to

capitalise on the opportunity of lower screen

penetration. During the year, leading multiplex

chains added close to 100 screens. Carnival

Cinemas has declared its intention to invest

INR5 billion to establish 500 screens in

Madhya Pradesh.

DOMESTIC THEATRICALS

Domestic theatrical revenues remain the main

source of income for movie makers in India.

The segment contributes 74 per cent to the

total industry. In 2014, the overall industry

performance was dampened due to the drop in

theatre footfalls in the fi rst three quarters and

slower growth in average ticket prices (ATP).

ExhibitionIn 2014 Indian fi lms further increased their reach.

Hindi fi lms ‘Bang Bang’ and ‘PK’ were released across

800 plus and 6000 screens worldwide in the overseas

market. Besides, increasing the number of prints in

2014, the industry also added new geographies to

its distribution portfolio: newer markets included

geographies such as Lebanon, Iraq and Burma




The industry is estimated to be worth

INR126.4 billion in 2014. Though the share of

other revenue streams is on the rise, domestic

theatricals is expected to continue to dominate

for the next fi ve years.

The gross box offi ce collections of top 10

Hindi fi lms in 2014 grew by 2.4 per cent over

2013 collections and 11.7 per cent over 2012

collections. However, for the next 10 fi lms the

box offi ce collections dropped by 3 per cent

in comparison to 2013 collections and 11.3

per cent for 2012 collections. The trend has

continued across the board with box offi ce

collections of fi lms ranking 21 to 50 sliding

further compared to previous years (2012 and

2013). The drop has been extreme in case of

fi lms ranking 41 to 50 where the total box

offi ce collections of these fi lms dropped by 48

per cent in 2014 as compared to 2013.

While 2014 has been a lack-lustre year due to

the poor performance of content, 2015 could

also witness similar muted growth due to the

uncertainty around content which is already in

the pipeline and the slow rate of real estate

growth which is expected to impact the

delivery of new screens. Additionally, since the

next phase of screen growth is being delivered

by tier 2 and tier 3 cities, the ATP growth might

be a bit slower than historical growth.

However, from 2016 onwards the industry

expects to get back on its growth trajectory.

Taking the above factors into consideration,

the domestic theatrical segment is expected

to touch INR204 billion by end of 2019 and

grow at a CAGR of 10 per cent during 2014-

2019.

OVERSEAS THEATRICALS

Overseas theatricals witnessed a 3.5 per cent

increase from INR8.3 billion in 2013 to INR8.6

billion in 2014, while the overall contribution

stood at 7 per cent of the total revenue.

Currently, on an average only 10-25 per cent of

the total gross collections of an Indian movie

is collected from overseas theatrical compared

to 60 per cent for Hollywood industry.

In 2014 Indian fi lms further increased their

reach. Hindi fi lms ‘Bang Bang’ and ‘PK’ were

released across 800 plus and 6000 screens

worldwide in the overseas market. Besides,

increasing the number of prints in 2014, the

industry also added new geographies to its

distribution portfolio: newer markets included

geographies such as Lebanon, Iraq and

Burma.

Filmmakers and production houses seem

to be looking at overseas theatrical beyond

just an ancillary revenue stream. Premieres

at international locations, and tie-ups with

international agencies have all been exercises

to increase traction in foreign countries and

promote Indian fi lms. Middle East, North

America and U.K. are the key markets, and

together they continue to contribute about 70

per cent to the total overseas revenues.

The Middle East market has showcased an

impressive Y-o-Y growth of 25-30 per cent

while the U.S. market grew at ~5-10 per

cent. In U.K., Indian movies are struggling to

connect with the third generation of Indian

diaspora leading to a decline in collections

from the region. The industry is experiencing

mushrooming demand from new markets

such as Japan, China, South Korea and Peru

where fi lms are distributed with subtitles in

the native language of those markets. Movies

with strong content such as ‘PK’, ‘Haider’, ‘2

States’ are performing well with non-Hindi

speaking audiences as well.




2014 was a landmark year for regional

cinema as the number of regional

movies produced reached an all-time

high - around 287 Tamil language movies were

released in 2014, the number stood at 255 for

Telugu movies compared to 216 Hindi movies.

At the same time, other regional industries

also saw a steep increase in the production of

movies. While the four South Indian markets,

Tamil, Telugu, Kannada, and Malayalam, still

lead the pack, the Marathi and Punjabi fi lm

industries undoubtedly left their mark at the

box offi ce in 2014. While the Marathi fi lm ‘Lai

Bhaari’ made with a budget of INR 80 million

had a box offi ce collection of more than INR

350 million, the animated Punjabi movie ‘Chaar

Saahibzaade’ made with an investment of

INR200 million generated INR700 million at

total box offi ce. The Bengali fi lm industry did

not have a great year as the few category-A

fi lms failed to attract audiences to theatres.

Many domestic exhibitors are now willing to

give more screen space to regional cinema and

sometimes even prefer a good regional movie

over a Hindi movie. ‘Lingaa’ became the fi rst

Tamil movie to enjoy the widest release across

5,000 screens worldwide. Besides cashing in

big at the ticket counter, the Tamil fi lm industry

also stood out for its proclivity to produce

experimental fi lms such as ‘I’. The impressive

growth of the Tamil industry can be partially

attributed to a number of small budget movies

with good and fresh content, which performed

exceptionally well at the box offi ce.

The Telugu fi lm industry, which is similar to

the Hindi fi lm industry for its dependence on

star power, had a softer year compared to

its neighbours. While the number of movies

produced during the year increased, the

highest grossing Telugu movie ‘Race Gurram’

in 2014 collected just INR570 million at the

box offi ce compared to the highest grossing

movie in 2013 which ended by collecting

INR1.81 billion. The movies ‘Minugurulu’ and

‘Manam’ scored high on the critics list and

were amongst the 30 fi lms shortlisted by the

Film Federation of India (FFI) for the 87th

Oscar Awards.

Individually, the Tamil industry needs to fi nd a

workaround to be able to offer enough cinema

screens to a movie, considering on an average

four to fi ve Tamil fi lms get released every

week; the Telugu industry which is primarily

dominated by a few top actors needs to widen

its portfolio to involve new talent. Kannada

and Malayalam fi lms still lag behind in terms

of content and production values, albeit the

rise in number of productions in a year.

Regional MarketsRegional cinema is now able to make bigger inroads

in the overseas market, growing in both traditional

markets such as the US, Gulf and non-traditional

markets such as Japan, France, Denmark, Taiwan,

Korea and China




Bengali fi lms on the other hand need to cope

up with the lack of serious players in the

production space, limited cable and satellite

options, very few stars and most importantly

limited multiplex screening infrastructure.

The emergence of successful movies from

smaller industries is a positive sign; however

the challenge ahead would be to sustain this

growth.

OVERSEAS THEATRICALS

Regional cinema is also now able to make

bigger inroads in the overseas market, growing

in both traditional markets such as the US, Gulf

and non-traditional markets such as Japan,

France, Denmark, Taiwan, Korea and China.

The trend of opening up new markets applied

to regional fi lms as well. ‘Kaka Muttai’ and

‘Char Sahibzaade’ performed extremely well

in non-traditional markets such as Canada and

New Zealand.

Tamil fi lms derive 90 per cent of their overseas

demand from four key markets - U.S., Malaysia,

UAE and Singapore. ‘Lingaa’, ‘Kaththi’, ‘Jilla’,

‘Kochadaiiyaan’ performed well among the

Tamil movies in the US and U.K. markets.

‘Lingaa’ was released across 200 screens

in the US, 85 in England, 50 in France, 20 in

Denmark, 16 in Germany, 9 in Holland and on

few screens in Switzerland, Norway, Belgium,

and Sweden36 while the Tamil fi lm ‘I’ was

released across 5,000 screens in China alone.

The Punjabi fi lm industry is facing challenging

times due to drop in demand from U.K.

However, as an exceptional case, ‘Chaar

Saahibzaade’ earned nearly 60 per cent of its

total revenue from overseas markets including

North America, U.K., Australia, and Europe.

Bengali fi lms are still restricted to fi lm festivals

and art house circuit. Overseas markets

together contribute less than 5 per cent to

the total theatricals. Bangladesh market is

considered as a potentially big market for

the industry however, cracking the market is

proving to be a challenge for the industry.

Box offi ce performance of select regional fi lms

Movie Language Budget Gross Box Offi ce

Lingaa Tamil 800 1480

Kaththi Tamil 700 1240

Aranmanai Tamil 120 220

Vella Illa Pattathari Tamil 80 530

Bangalore Days Malayalam 90 500

Lai Bhaari Marathi 80 350

Chaar Sahibzaade Punjabi 200 700

Veeram Tamil 400 1300

Source: Hindustan Times, 19 December 2014, ‘2014: When littlegems outclassed big guns in southern cinema’

In INR millions




2014 was a good year for Hollywood fi lms

in India, the gross box offi ce collections

of top 10 fi lms increased from INR3.2

billion (2013) to INR4.2 billion (2014). The

consumption of Hollywood content in India

is rapidly changing amongst the audience

driven by the youth and emergence of new

centres in tier2 and tier 3 cities where largely

dubbed content performs well. In 2014,

franchise movies such as ‘Amazing Spider

Man 2’, ‘Transformers 4: Age of Extinction’,

and ‘X-Men: Days of Future Past’ continued to

perform well at the box offi ce and generated

close to INR2.1 billion30 in gross box-offi ce

collections in India.

Though franchise and superhero movies draw

wider audience, small budget movies with

stronger scripts have also performed well.

Top 10 Hollywood fi lms in India (2014)

Titles Total GBO (INR million)

Amazing Spider Man 2 875

Transformers 4: Age Of Extinction 630

X-Men: Days Of Future Past 566

Interstellar 432

300: Rise Of An Empire 401

Godzilla 340

Captain America: The Winter Soldier 310

Hercules 290

Dawn Of The Planet Of The Apes 224

Exodus: Gods And Kings 189

Source: Kinematograph Renters Society

Hollywood in IndiaThe consumption of Hollywood content in India is

rapidly changing amongst the audience driven by the

youth and emergence of new centres in tier2 and tier 3

cities where largely dubbed content performs well




‘Fault in Our Stars’ (83 screens) and ‘Gone

Girl’ (155 screens), while competing with big

budget Bollywood movies, reported INR52.9

million and INR34.9 million gross box-

offi ce collections in their respective opening

weekends.

Initially aimed at the English speaking Indian

audience, fi lm studios are now realising the

potential and popularity of Hollywood movies

amongst the non-English speaking audience

as well. Today, Hollywood movies are being

dubbed in various Indian regional languages

apart from Hindi.

Fast And Furious 7 has offi cially become the fi rst Hollywood fi lm to enter Rs.100 crore club in India.The James Wan-directed movie - which is the last fi lm in the series to star late actor Paul Walker - hit the impressive fi gure in a three weekends. The fi lm has earned Rs.104 crore net till now in the domestic box offi ce. (April 20, 2015). Apart from English, the fi lm released in Hindi, Tamil and Telugu on April 2 in India.




While revenues from digital delivery

of videos are still very small, the

industry is not discounting the

future potential and is making investments to

capitalise on the potential. Video advertising

is fast gaining prominence as advertisers are

looking to reinforce their marketing messages

on multiple screens to maximise impact by

integrating video-related advertising into their

digital mix. From the advertisers’ perspective,

video ads are similar to TV in terms of ability

to connect with the consumer but provide the

effi cacy and direct targeting with the ability to

track, measure, analyse and monetise online

campaigns in real time.Also, video ads are an

effective way to target the young and affl uent

demographics for whom consumption habits

have shifted signifi cantly to digital media.

Social media provides a ‘multiplier effect’ for

video ads since video ads when done right can

get shared multiple times and go viral.

Besides pure play advertising, platforms and

advertisers alike are also exploring made-for

digital branded content.

There have been some successful examples

of this already – (i) MTV had two web series,

a fashion and lifestyle web series called

‘The Look’ and a fi tness web series called

‘Get Fit’ in 2014, and (ii) The Viral Fever, a

YouTube channel debuted a sponsored web

series called ‘Permanent Roommates’, (iii)

One Digital Entertainment in association with

Virgin Atlantic Airways and VisitBritain had a

food and travel 20 episode series with Chef

Saransh Goila named ‘The Spice Traveller’.

While so far, monetisation of on-demand

content has been through advertising, scope

for subscription and pay-per-view revenues

for premium, value-added and exclusive

content is promising. In the medium term, as

internet accessibility improves further, there

will be increasing demand for customised and

premium content in India. This can make the

paid model more attractive for the digital video

platforms. Further, as observed in developed

Monetisation of Digital Video ContentFor all the convenience and fl exibility of streaming

content on to smartphones and tablets, the viewing

experience on a high-defi nition large screen TV will

likely remain unmatched. While smart TVs/connected

TVs are one way for consumers to watch on-demand

content on TVs, globally the market is shifting towards

over-the-top (OTT) devices




VOD Platforms in India

iTunes Store

• Movies, TV shows, music, games, books, podcasts

• 40,000+ movie titles and 190,000+ TV shows

Google Play store

• Movies, TV shows, games, books in English, French, Spanish and Hindi

Hotstar.com / Starsports.com

• TV shows from the Star stable in seven languages

• ~300 movies

• Sports including live content

Ditto TV

• ~150 live TV channels

• TV shows from the Zee stable and other broadcasters

• ~3,000 movies across all major Indian languages and English

Sony LIV/LIV Sports

• All content from Sony Entertainment banner

• Sports including live content

Eros Now

• ~ 3,500 movies, including all of Eros International’s movies and from most major studios across Hindi and regional languages

• TV shows from mainstream Hindi and regional channels

• Music from Eros internal library and other major music labels

Box TV• Movies in Hindi and English

• TV content primarily from Sony, Big Magic and library content

Bigfl ix• ~ 2,000 movies in 13+ languages

Hungama.com• 900+ movies in 8+ languages

Spuul.com• 1000+ movies from most major

production houses in India in Hindi and regional languages

• Hindi and Regional TV content, primarily from Viacom18




DishOnline• 50+ live TV channels

• Catch up TV content

• Movies

Everywhere TV• 75 live TV channels

• catch up TV content from 24 channels

• Movies

Pocket TV• 150 live TV channels

• Catch up TV content from 13 channels

• Movies

Direct2Mobile• 78 live TV channels

• Catch up TV content

• Movies

markets, there could likely be increasing

preference for ad-free content on digital

platforms for which users may be willing to

pay a premium. Increasing disposable income

seem to also be resulting in higher spend on

entertainment by the growing mid and high

income classes in India, particularly in urban

clusters.

Viewers are expected to be selective in

paying for content and are expected to pay as

long as they see additional value in terms of

exclusivity or timing or availability. This has

been observed in the case of multiplexes and

DTH industry, which have managed to raise

average ticket prices and ARPUs, respectively,

consistently year on year by providing better

value. However, a key risk is that consumers

are becoming accustomed to free content

on digital media, and changing the habit of

consumers would be tricky.

Currently, existing TV and fi lm content has

been repurposed for viewing on digital media

but going forward, original content on digital

media can drive subscription revenues.

Sports can be another key driver for premium

subscription. For instance, StarSports.com’s

paid streaming for ICC Cricket WC 2015 for a

subscription package costing INR120 (USD 2)

has gained signifi cant traction.

One of the primary forces impeding the growth

of subscription and pay-per-view revenues is

the hassles that customers face while making

payments on digital platforms, even when they

are willing to pay. This is on account of:

Low credit card penetration

Fear of using netbanking and credit cards

online due to security threats

Lack of experience in using e-wallet/m-

wallet

As a result, some digital platforms are using the

mobile carrier billing for payment collection,

but the high revenue share expected by Telcos

for billing is a barrier, especially since unlike in

the Mobile VAS space, Telcos do not manage

the delivery channel and customer acquisition,

but only the collection. The TV Everywhere

services by TV distribution platforms have an

advantage over other platforms, due to their

already existing customer billing relationship.

Even in a relatively mature market such as US,

TV Everywhere is growing faster than other

video streaming services such as YouTube,

Hulu and Daily Motion.




OVER-THE-TOP DEVICES: THE FUTURE

TREND

For all the convenience and fl exibility of

streaming content on to smartphones and

tablets, the viewing experience on a high-

defi nition large screen TV will likely remain

unmatched. While smart TVs/connected TVs

are one way for consumers to watch on-demand

content on TVs, globally the market is shifting

towards over-the-top (OTT) devices/Internet

STBs on account of high cost of replacement

of smart TVs, better user interfaces on OTT

devices, shortening technology life cycles,

and diffi culty in receiving software updates

on smart TVs. These OTT devices could be

dedicated IP streaming devices such as Apple

TV and Chromecast or gaming consoles such

as Xbox and PS3. There are already several

international as well as domestic devices

available in the market at different price

points and with different feature sets. While

these devices may not gain mass appeal in

India given their high prices, a segment of the

audience, is already adopting these devices

and the trend is expected to gain traction as

availability of premium quality content on

digital platforms improves.

Content is king on digital platforms as wellWhile content will be one of the critical success factors, ac-

cording to industry participants, it is also expected to be the

biggest drain on cash fl ows for digital video platforms.

The content licensing deals for digital rights largely remain on

minimum guarantee basis, while there are some deals, espe-

cially for ongoing TV shows and live TV streaming that are tak-

ing place on revenue share basis. Even internationally, in spite

of its scale, majority of the content deals for Netfl ix are on a

fi xed cost basis and content costs constituted over 70 per cent

of revenues for Netfl ix in 2014.



INDIAN FILMS AT CANNES

Offi cial Film Selections from India at Cannes International Film Festival

India_Film_Guide_2015_Inner_Pages_69-150.indd.indd 69India_Film_Guide_2015_Inner_Pages_69-150.indd.indd 69 05-05-2015 17:59:0105-05-2015 17:59:01


Indian Films at Cannes

UN CERTAIN REGARD

CHAUTHI KOOTby Gurvinder Singh

Chauthi Koot unfolds in 1984 Punjab, a state in turmoil, in the midst of Sikh militancy, in the midst of fear and suspicion. The movie explores the horrible plight of the common man as he fi nds himself trapped between the army and the extremists.

International Sales Contact:

Elle Driver

Eva Diederix, Managing [email protected]

Un Certain Regard

Screening Date and Time:

15 May: 4:30 pm, Salle Debussy

16 May: 11 am, Salle Bazin

22 May: 10 pm, Salle Debussy




Original Title: Chauthi Koot

English Title: Fourth Direction

Length: 115 mins.

Language: Punjabi

Year of Production: 2015

Country of Production: India

Shot On: 4K digital

Projection Format: DCP

Sound: Dolby Surround

Crew:

Director: Gurvinder Singh

Producer: Kartikeya Narayan Singh

Co-Producers: Nina Lath Gupta, Catherine Dussart, Sunil Doshi, Gurvinder Singh

Creative Producer: Olivia Stewart

Associate Producers: Himmat Sarkaria, Michael Henrichs

Production Company: The Film Cafe, Mumbai

Supported Financially By: NFDC, Aide aux CinÉmas du Monde, Hubert Bals Fund,

Handmade Films, Paddy & Joan Leigh Fermor Arts Fund

Screenplay: Gurvinder Singh

Story: Waryam Singh Sandhu

Dialogues: Waryam Singh Sandhu & Jasdeep Singh

Director of Photography: Satya Rai Nagpaul

Sound Recording & Design: Susmit Bob Nath

Editing: Bhupesh Micky Sharma

Re-Recording Mixer: Bruno Tarriere

Music: Marc Marder

Production Design: Priyanka Grover

Costumes: Navjit Kaur

Cast:

Joginder: Suvinder Vikky | Beero (Wife): Rajbir Kaur | Mother: Gurpreet Kaur Bhangu | Boy (Sukhdev): Taranjit Singh | Girl: Harleen Kaur | Hindu Man 1: Kanwaljit Singh | Hindu Man 2: Harnek Aulakh | Sikh Man: Tejpal Singh | Train Guard: Gulshan Saggi

Credits




MASAAN by Neeraj Ghaywan

Four lives intersect along the Ganges – a lower-caste boy in hopeless love, a daughter ridden with guilt of a sexual encounter ending in a tragedy, a hapless father with a fading morality, and a spirited child yearning for a family, long to escape the moral constructs of a small-town.

International Sales Contact:

Themba Bhebhe

Pathe International,[email protected]

Screening Date and Time:

19th May, at 5PM.

Un Certain Regard




Drishyam Films presents A Macassar Productions, Sikhya Entertainment & Phantom Production

Directed by – Neeraj Ghaywan

Produced by – Manish Mundra, Mélita Toscan du Plantier and Marie-Jeanne Pascal, Guneet Monga, Shaan Vyas, Vikas Bahl, Vikramaditya Motwane & Anurag Kashyap

Co–Producer – Dipa De Motwane, Sophie Seydoux, ARTE France CINEMA & PATHE Production

Cinematography - Avinash Arun Dhaware

Screenplay & Lyrics - Varun Grover

Original Music composed & orchestrated by - Bruno Coulais

Songs composed by - Indian Ocean

Edited by - Laure Gardette

Consulting Editor - Nitin Baid

Sound Designers - Gilles Benardeau, Sanjay Maurya & Allwin Rego

Costume Designer- ShrutiKapoor

Production Designer- RanjitSingh

Casting Director- Mukesh Chabbra

Action Director –ShamKaushal

Sound Mixing - Gilles Benardeau

Associate Producer - Ranjan Singh & Rati Shankar Tripathi

First Assistant Director - Karuna Dutt

On Set Sound Recordist - VinitD'Souza

Makeup Designer - Shrikant Desai Principle

Cast

Richa Chadda | Sanjay Mishra | Vicky Kaushal | Shweta Tripathi | Vineet Kumar | Pankaj Tripathi | Nikhil Sahni | Bhagwan Tiwari | Bhupesh Singh

Credits




NATIONAL FILM AWARDS

Winners of the 62nd National Film Awards for the year 2014



Indian National Film Awards 2014

BEST FEATURE

FILM

Court(Marathi, Hindi, Gujarati & English)

Producer: Zoo Entertainment Pvt. Ltd.

Director: Chaitanya Tamhane

Swarna Kamal and ` 2,50,000/- each to the Producer and Director

COURT is a powerful and

stark depiction of the

mundaneness of judicial

procedure revealed

brilliantly by the fi lm’s

form, forcing us to refl ect

on the heartwrenching

insensitivity of institutional

structures.

Asha Jaoar Majhe (Bengali)

Producer: F.O.R Films Pvt. Ltd.Director: Aditya Vikram Sengupta

Swarna Kamal and ` 1,25, 000/- each to the Producer and Director

For the portrayal of routine ordinary life with extraordinary cinematic fi nesse.

INDIRA GANDHI AWARD FOR BEST DEBUT FILM OF A DIRECTOR

BEST POPULAR FILM PROVIDING WHOLESOME ENTERTAINMENT

BEST FILM ON SOCIAL ISSUES

Mary Kom (Hindi)

Producer: Viacom 18 Motion PicturesDirector: Omung Kumar

Swarna Kamal and` 2,00,000/- to the Producer and Director

For an inspiring tale of a woman who becomes a national icon through her determined pursuit of sporting excellence.

Chotoder Chobi (Bengali)

Producer: Shree Venkatesh Films Pvt. Ltd.Director: Kaushik Ganguly

Rajat Kamal and` 1,50,000/- each to the Producer and Director

For its empathetic portrayal of marginalized people and their struggle for a life of dignity.




BEST ACTOR

Nanu Avanalla Avalu (Kannada)

Vijay

Rajat Kamal and` 50,000/-

For his subtle and nonstereotypical playing of a woman trapped in a man’s body, portraying a gamut of emotions as s/he struggles through confusion, rejection and humiliation to fi nally chart her own course with confi dence and dignity.

Ottaal (Malayalam)

Producer: Director Cutz Film Company (P) Ltd.Director: Jayaraj


Ottaal, a visual poem, expresses the beauty and serenity of the protagonist’s rural environment and a way of life whose value is measured by the poignancy of its loss.

BEST FILM ON ENVIRONMENT CONSERVATION/PRESERVATION

BEST CHILDREN’S FILM

Kaakkaa Muttai (Tamil)

Producer: Grass Root Film CompanyDirector: Manikandan M

&

Elizabeth Ekadashi (Marathi)

Producer: Essel Vision Productions Ltd.Director: Paresh Mokashi

Swarna Kamal and` 1,50,000/- each to the Producer and Director(Cash component to be shared between fi lms)

Kaakkaa Muttai for narrating a charming story of two brothers who are unaware of their deprived status and have a confrontation with the tastelessness of globalization.

Elizabeth Ekadashi is a delightful tale that reaffi rms children's ability to negotiate the complexities of life with relative ease.

BEST DIRECTION

Chotushkone (Bengali)

Srijit Mukherji

Swarna Kamal and` 2,50,000/-

For its brilliantly refl exive use of the cinematic idiom through a playful and innovative mise-en-scene that tautens to an unexpected and gripping climax.




BEST CHILD ARTIST

Kaakkaa Muttai (Tamil)

J. Vignesh

AND

Ramesh

Rajat Kamal and` 50,000/- (Cash component to be shared)

For their portrayal of inseparable siblings living in a slum who innocently struggle with rare dignity to acquire what attracts them in this vast market of products unleashed by a liberal economy only to realise the harsh reality of invincible class boundaries.

Queen (Hindi)

Kangana Ranaut


For an endearingly etched out performance that is grounded in contextual specifi city and at the same time is disarmingly spontaneous as to appear almost improvisatory.

BEST ACTRESS

BEST SUPPORTING ACTOR

BEST SUPPORTING ACTRESS

Jigarthanda (Tamil)

Bobby Simhaa


For an engaging portrayal of a dreaded Mafi a don who plays both the villain and the comic with a rare fl amboyance and abandon.

Pagdi The Honour (Haryanavi)

Baljinder Kaur


For a very expressive performance as a gritty rustic woman who struggles as wife and mother to keep her family intact in a society obsessed with patriarchal honour.




BEST EDITING

Jigarthanda

(Tamil)

Vivek Harshan


For structuring the different narratives of raw cruelty and urban cunning that eventually intermingle with positive and humourous overtones through skillful editing.

Haider (Hindi)

Sukhwinder Singh (For the song Bismil)


For a powerful rendition which effectively refl ects the agony and anger of the protagonist.

BEST MALE PLAYBACK SINGER

BEST FEMALE PLAYBACK SINGER

BEST CINEMATOGRAPHY

Saivam (Tamil)

Uthara Unnikrishanan (For the song Azhagu)


For evoking an emotional resonance through the purity and innocence of her voice.

Chotushkone (Bengali)

Sudeep Chatterjee

Rajat Kamal and` 50,000/- each

For exhibiting a wide spectrum of space and time while

effortlessly knitting the emotional fabric of the fi lm.




BEST MAKE-UP ARTIST

BEST COSTUME DESIGNER

Nanu Avanalla Avalu (Kannada)

Nangaraju & Raju


For the realistic creation of gender duality in a character through different phases of life.

Haider (Hindi)

Dolly Ahluwalia


For capturing the essence of the characters and moods with creative fl ourish.

BEST PRODUCTION DESIGN

Nachom – IA Kumpasar (Konkani)

Aparna Raina


For convincingly recreating spaces from a different era and with minute attention to detail.

i) Screenplay Writer (Original)Chotushkone (Bengali)

Srijit Mukherji


Chotushkone for the masterful telling of a taut suspense thriller which weaves a sinister web around the journey and lives of four egotistical characters.

ii) Screenplay Writer (Adapted)Ottaal (Malayalam)

Joshy Mangalath


Ottaal for beautifully transposing Anton Chekov’s short story onto a canvas of nature that enhances the shades of the original.

iii) DialoguesHaider (Hindi)

Vishal Bhardwaj


Haider for the multi layered and resonant dialogues that evoke angst and passion with crispness and brevity.

BEST SCREENPLAY




BEST MUSIC DIRECTION

i) Songs

Haider (Hindi)

Vishal Bhardwaj


For developing the confl ict of the inner and outer landscape through haunting music.

ii) Background Score

1983 (Malayalam))

Gopi Sunder


For maintaining the tempo of the fi lm with an in-sync background score.

BEST LYRICS

Saivam (Tamil) (Azhagu)

NA. Muthukumar

Rajat Kamal and ` 50,000/-

For embodying the world as seen through the eyes of a child using common place images to make an appeal to an adult world.

i) Location Sound Recordist

Khwada (Marathi)

Mahaveer Sabbanwal


Khwada for its excellent live sound quality which skillfully captures all the ambient sounds with the right tonal balance.

ii) Sound Designer

Asha Jaoar Majhe (Bengali)

Anish John


Asha Jaoar Majhe for creating a brilliant soundscape which enhances the narrative even in the absence of the spoken word.

iii) Re-recordist of the fi nal mixed track

Nirbashito (Bengali)

Anirban Sengupta & Dipankar Chaki


Nirbashito for the seamless movement from chaos into the quietness of solitude while integrating various elements of sound.

BEST AUDIOGRAPHY




Haider (Hindi)(Bismil)

Sudesh Adhana


For the evocative fusion of performative grammars, interweaving a staccato whirling of masculinised bodies with larger than life puppets, to create a dance that is fi rmly embedded within the narrative.

Khwada (Marathi)

Director: Bhaurao Karhade

Rajat Kamal and` 2,00,000/-

For a hard-hitting but restrained narration of the harsh realities of a nomadic shepherd community who are in search of stability.

BEST CHOREOGRAPHY

SPECIAL JURY AWARD

The National Film awards have over the years brought the best talent present in India Cinema to national limelight. In its

over a half a century long history, the National Film Awards have nurtured

numerous talent who are now national icons and also known internationally.




BEST HINDI FILM

QueenProducer: Phantom Films Pvt. Ltd. & Viacom 18 Motion PicturesDirector: Vikas Bahl


For a delightful portrayal of a young girl who emerges from her cocoon of diffi dence and middleclass mores to discover the pleasure and fulfi llment of a life lived on her own terms.

OthelloProducer: Artha FilmsDirector: Hemanta Kumar Das


For its tangential evocation of the Shakespeare play as it explores mistrust and prejudice in a society ridden with political turmoil.

BEST ASSAMESE FILM

BEST BENGALI FILM

NirbashitoProducer: Kaushik Ganguly ProductionsDirector: Churni Ganguly


For its poignant articulation of the suffocation one experiences when exiled in a land that is not one’s own, as a price that is paid for asserting one’s right to freedom of expression.

BEST KANNADA FILM

HarivuProducer: Om StudioDirector: Manjunath S. (Mansore)

Rajat Kamal and1,00,000/- each to the Producer and Director

For the lingering pathos of a father’s struggle to provide

medical treatment to his only child and his long trek back home with his son’s corpse.




BEST KONKANI FILM

Nachom – IA KumpasarProducer: Goa Folklore Productions

Director: Bardroy Barretto


For its nostalgic recovery of a distinctive musical legacy, as told through the rollercoaster lives of its practitioners, that has remained unsung despite its infl uence upon Bombay cinema.

AinProducer: 1: 1: EnternatmentsDirector: Sidhartha Siva


For its gently nuanced narrative in which a carefree young man embraces responsibility and compassion for the lives of others.

BEST MALAYALAM FILM

BEST MARATHI FILM

KillaProducer: JAR Pictures & M R Film WorksDirector: Avinash Arun


For its warm portrait of a young boy as he emerges from the shadows of dislocation and loss in an unfamiliar environment to embracing what life has to offer.

BEST ODIYA FILMBEST TAMIL FILM

Aadim Vichar

Producer: Mohapatra Movie Magic Pvt. Ltd.Director: Sabyasachi Mohapatra


For its vibrant portrayal of a tribal community whose enabling humanism shows a way out of pettiness and prejudice.

Kuttram Kadithal

Producer: JSK Film CorporationDirector: Bramma.G


For the pervasive empathy with which it examines the guilt and the anger that follows upon a school teacher’s impulsive slapping of a student.




BEST PUNJABI FILM

Punjab 1984Producer: White Hill Production India Pvt. Ltd.

Director: Anurag Singh


For its searing portrayal of how ordinary lives and simple dreams are shattered in a time of militancy.

Chandamama KathaluProducer: Working Dream Production

Director: Praven Sattaru


For its skilful interweaving of stories featuring a variety of characters bound together by a common anxiety about securing their future.

BEST TELUGU FILM

BEST RABHA FILM

OrongProducer: Suraj Kr. Duwarah, Aucto Creation

Director: Suraj Kr. Duwarah


For its sensitive portrayal of a young man as he drifts through a life that offers little promise or excitement.

BEST HARYANVI FILM

Pagdi The HonourProducer: V R Entertainers

Director: Rajeev Bhatia


For capturing honestly the abrasive fabric of a patriarchal society that places an inordinate premium on honour, and also offering the possibility of liberation through an acknowledgement of others’ pain.




SPECIAL MENTION

Ain(Malayalam)

Musthafa

CERTIFICATE

For the minute and nuanced manner in which he assays the imperceptible transformation of a carefree youth into a compassionate and responsible young man.

Nachom – IA Kumpasar(Konkani)

Palomi Ghosh

CERTIFICATE

For her extraordinarily energetic performance as a girl whose infectious passion for singing and love comes at enormous personal cost.

Killa (Marathi)Bhootnath Returns (Hindi)

Parth Bhalerao

CERTIFICATE

For lovable portrayals with rare aplomb of an impish and caring child in both Killa and Bhootnath Returns.

Tender is the Sight

Producer: Films DivisionDirector: Torsha Banerjee

Swarna Kamal and` 1,50,000/- each to the Producer and Director

For its sensitive and lyrical portrayal of ten-year-old Hassirbullah, who, though visually challenged, creates a symphony of sounds. The fi lm captures his universe, his life and his talent, softly and gently.

BEST NON FEATURE FILM

BEST DEBUT FILM OF A DIRECTOR

Goonga PahalwanProducer: Drishti MediaDirector: Mit Jani, Prateek Gupta & Vivek Chaudhary

Rajat Kamal and` 75,000/- each to the Producer and Director*

For its fun, yet mature portrayal of its protagonist, a champion at the Deaf Olympics. It pointedly questions the politics that impede this capable athlete’s route to the Rio Olympics.

BEST ANTHROPOLOGICAL / ETHNOGRAPHIC FILM

Qissa – e – Parsi : The Parsi Story

Producer: Public Service Broadcasting TrustDirector: Divya Cowasji & Shilpi Gulati

Rajat Kamal and` 50,000/- each each to the Producer & 50,000/- Director*

For its light-hearted yet comprehensive telling of the story of India’s much loved community, the Parsis. It explores their history, the philosophy of their faith, their enterprise and their way of life, with delight and laughter.




BEST FILM ON SOCIAL ISSUES

Can’t Take This Shit Anymore

Producer: Bhagirathi Films

Director: Vinod Kapri

For incisively highlighting the acute desperation of rural women and the problems they face from the lack of basic and essential facilities for sanitation.

Daughters of Mother India

Producer: V2 Film & Design Pvt. Ltd.

Director: Vibha Bakshi

Rajat Kamal and` 50,000/- each to the Producer & Director (cash component to be shared)

For explicitly and determinedly turning the spotlight on the burning issue of rape in the country and the brutal mentality that drives it.

Aamaar Katha : Story of BinodiniProducer: Films DivisionDirector: Tuhinabha Majumdar

Rajat Kamal and` 50,000/- each to the Producer and Director

For its stylistic and poetic portrayal of the 19th century theatre actress Binodini Devi’s autobiography.

BEST BIOGRAPHICAL/ HISTORICAL RECONSTRUCTION

BEST ARTS / CULTURAL FILM

Kapila

Producer: Films Division

Director: Sanju Surendran

Rajat Kamal and` 50,000/- each to the Producer & Director

For its unique and expressive rendering of Kapila’s sheer artistry over Kudiyattam, the world’s oldest theatrical art form.

BEST PROMOTIONAL FILM (to cover tourism, exports, crafts, industry etc)

Documentation of Clay Image Makers of Kumartuli Producer: Indira Gandhi National Centre for the Arts

Director: Ranajit Ray


For its extensive study of the craft and community of the clay makers in the context of changing times.




BEST ENVIRONMENT

FILM INCLUDING AGRICULTURE

I Cannot Give You My Forest

Producer: Top Quark Films Pvt. Ltd.

Director: Nandan Saxena & Kavita Bahl


For its concerned and empathetic exploration of the tribal communities in Rayagada, Orissa, who derive their sustenance and identity from the forest.

Life Force – India’s Western Ghats

Producer: Grey Films India Pvt. Ltd.

Director: Nallamuthu Subbiah


For taking the viewer deep into the Western Ghats and engagingly revealing its rare and incredible biodiversity.

BEST EXPLORATION/ ADVENTURE FILM (TO INCLUDE SPORTS)

BEST INVESTIGATIVE FILM

Phum ShangProducer: Films Division

Director: Haobam Paban Kumar


For its quiet and fair-hearted investigation of the fi shermen communities and their fl oating dwellings on Loktak Lake, Manipur, even as government agencies and conservationists struggle to save the lake.

BEST EDUCATIONAL FILM

KomalProducer: Climb Media India Pvt. Ltd.

Director: Prashant Shikare

KOMAL – For effectively and concisely communicating essential information to children to protect themselves from sexual abuse.

Behind the Glass WallProducer: Gaahimedia

Director: Aruna Raje Patil

Rajat Kamal and ` 50,000/- (cash component to be shared)

BEHIND THE GLASS WALL –For its exhaustive exploration of the world and challenges of the autistic and their caregivers.




BEST SHORT FICTION FILM

MitraaProducer: Athaansh Communications

Director: Ravindra Jadhav


For its empathetic portrayal of its pivotal character’s sexual orientation, and the question of freedom around it. Shot in monochrome, the fi lm adds to the antiquity for the era it is set in.

Sound of JoyProducer: Aura Cinematics

Director: Sukankan Roy

Animator: Rishi Sanay

Rajat Kamal and ` 50,000/- each to the Producer, Director and Animator

For its fl owing and engaging animation style in telling the stories from Vivekananda’s childhood and its emphasis on developing the power of concentration.

BEST ANIMATION FILM

SPECIAL JURY AWARD

A Poet, A City & A FootballerProducer: Films Division

Director: Joshy Joseph

Rajat Kamal and ` 50,000/-each to the Producer and Director

For demonstrating the power of cinema in weaving together life, poetry and refl ections of its protagonist in the face of impending death.

BEST FILM ON FAMILY VALUES

Towards the Silver LiningProducer: Satyajit Ray Film & Television Institute

Director: Bhabani Tamuli

Rajat Kamal and ` 50,000/- each to the Producer and Director

For its sensitive portrayal of a paraplegic girl who builds a house for her mother, and the touching bond between them.




BEST DIRECTION

AaranyakRenu Savant

Swarna Kamal and` 1,50,000/-

For its existential defi nition of layered thoughts and emotion that move through a refl ective search to end in an ironic arrival into the real.

Aamaar Katha: Story of Binodini Indraneel Lahiri

Rajat Kamal and ` 50,000/- to Cameraman

For its stunning and sensual visual imagery that brings the story of Binodini alive.

BEST CINEMATOGRAPHY

BEST AUDIOGRAPHY

Tender is the Sight

Audiographers: Anindit Roy, Ateesh Chattopadhyay, &

Ayan Bhattacharya

Rajat Kamal and ` 50,000/-*

The fi lm travels through the imaginary line of manifest and unmanifest worlds of visual and sound that balance effortlessly, imprinting the audience with a haunting aural experience.

SPECIAL MENTION

Gunjaa

Director: Mrinal Dev

Certifi cate

For poignantly telling the story of Gunjaa, a young girl in Bihar, and her innocent but ironic understanding of death.

Seek and Hide

Director: Manoj Kumar Nitharwal

Certifi cate

For its fi ne juxtaposition of a child’s expression of fear with the unawareness of the parents to elucidate a complex story of paedophelia.

5 O’Clock AccidentsDirector: Ruchir Arun

Certifi cate

For its gritty story and compelling treatment of a voyeuristic teenager and the darkness that comes with his obsession.




BEST NARRATION / VOICE OVERBEST EDITING

Nitya Kalyani – Oru Mohiniyattam PathamAmbooty and Devi S


For the depth of its research and its poetic rendition of the history of Mohinyattam across the mighty empires along the riverbanks of Tungabhadra to Thanjavur.

Tigress BloodAndi Campbell Waite


For seamlessly structuring the inner worlds of four tigress sisters through an incisive cinematic arrangement of their outer spaces.

BEST WRITING ON CINEMA

BEST BOOK ON CINEMA SPECIAL MENTION BEST FILM

CRITIC

Silent Cinema: (1895-1930)Author: Pasupuleti Purnachandra Rao

Swarna Kamal and 75000 to the author

Publisher: EMESCO BOOKS

Swarna Kamal and ` 75000 to the Publisher:

Pasupuleti Purnachandra Rao’s work on silent cinema commands attention. It is as worthy of a scholar’s consideration as a common cinegoer’s time. He walks down the memory lane to come up with a work that is likely to go down as a benchmark for serious research in Indian cinema.

Pride of Tamil Cinema (1931-2013)G. Dhananjayan

Only Certifi cate

G. Dhananjayan’s Pride of Tamil Cinema deserves careful consideration for the sheer expanse of the work. The book is a painstaking effort which will have a relevance many years down the line.

Tanul ThakurSwarna Kamal and` 75000/- to the Critic: Tanul Thakur

Tanul Thakur’s work is like a breath of fresh air. In brevity lies the strength of Thakur’s analysis of crests and troughs of Indian cinema. Without being didactic, Thakur is able to provide a different perspective to seemingly disparate elements and string them together in a lucid fashion.




DADASAHEB PHALKE AWARD WINNERS



Dadasaheb Phalke Award

Dadasaheb Phalke AwardThe Award was introduced in 1969 by the government

to recognise the contribution of fi lm personalities

towards the development of Indian Cinema

Devika Rani Roerich

1969B.N. Sircar

1970Prithviraj Kapoor

1971

Pankaj Mullick

1972Sulochana (Ruby Myers)

1973B.N. Reddy

1974




Dhiren Ganguly

1975Kanan Devi

1976Nitin Bose

1977

R.C. Boral

1978Sohrab Modi

1979P. Jairaj

1980

Naushad Ali

1981L.V. Prasad

1982Durga Khote

1983




Satyajit Ray

1984V. Shantaram

1985B.Nagi Reddy

1986

Raj Kapoor

1987Ashok Kumar

1988Lata Mangeshkar

1989

To honour the Father of Indian Cinema, Dhundiraj Govind Phalke, the National

Film Awards named the most prestigious and coveted award of Indian Cinema after him. He is the man who made

the fi rst Indian Feature fi lm Raja Harishchandra in 1913




A. Nargeswara Rao

1990B.G. Pendharkar

1991Dr. Bhupen Hazarika

1992

Shivaji Ganesan

1996Kavi Pradeep

1997B.R. Chopra

1998

Majrooh Sultanpuri

1993Dilip Kumar

1994Dr. Rajkumar

1995




Hrishikesh Mukherjee

1999Asha Bhosle

2000Yash Chopra

2001

Dev Anand

2002Mrinal Sen

2003Adoor Gopalakrishnan

2004

Shyam Benegal

2005Tapan Sinha

2006Manna Dey

2007




V.K. Murthy

2008D. Ramanaidu

2009K. Balachander

2010

Soumitra Chatterjee

2011

Shashi Kapoor

2014

Pran

2012Gulzar

2013

Dadasaheb Phalke Award is given to a fi lm personality

for his/her outstanding contribution to the growth and development of Indian

Cinema. The award comprises a Swarna Kamal, a cash Prize

of Rs. 10,00,000/- (Rupees Ten Lakhs) and a shawl.




PEOPLE


Indian Delegates at Cannes


COL RAJYAVARDHAN RATHORE • Minister of State for Information & Broadcasting

K SANJAY MURTHY • JS (Films) • jsfi [email protected]

The Ministry of Information & Broadcasting in association with Federation of Indian Chambers of Commerce and Industry participate in the Cannes Film Market to project Indian cinema, facilitate to syndicate and market Indian fi lms and fi lm services in India.

The India Pavilion at Cannes will provide a platform for the Indian fi lmmakers and producers (mainstream and independent) to market Indian fi lms with international territories and engage in co-production with Europe.

The objective is to boost the profi le of Indian fi lms, facilitate business to business meetings, production services and Indian locales to the world. The India Pavilion will have representation from across the country and participation including production companies, line producers, post production studios and exporters. There would be a team available for answering queries from delegates. Shooting location guides and tourism brochures would be kept in India Pavilion for distribution to delegates.

MINISTRY OF INFORMATION & BROADCASTING

C SENTHIL RAJAN • Director, DFF• [email protected]

RIZWAN AHAMD • Deputy Director DFF/IFFI• [email protected]

TANU RAI • Deputy Director DFF/IFFI• [email protected]

Directorate of Film Festivals (DFF) was set up by the Government of India in 1973 to organize International and National Film Festivals within the country. DFF facilitates India’s participation in Festivals abroad, arranges programmes of foreign fi lms in India and Indian fi lms abroad and holds the National Film Awards function.

As a vehicle of Cultural Exchange, DFF promotes International friendship, provides access to new trends in world Cinema, generates healthy competition and, in the process, helps to improve the standards of Indian Films.

DIRECTORATE OF FILM FESTIVALS

International Film Festival of India aims at providing a common platform for the cinemas of the world to project the excellence of the fi lm art; contributing to the understanding and appreciation of fi lm cultures of different nations in the context of their social and cultural ethos; and promoting friendship and cooperation among people of the world. The 46th edition of IFFI is slated for November 20-30, 2015 in Goa.

The IFFI’s founding principles centre on discovery, promotion and support of fi lmmaking of all genres – thus bringing together the diversity of the forms, aesthetics and contents. The Festival is an assembly of people and nations where the world’s greatest fi lm artistes hold hands with emerging talents on an equal footing. It is also a forum for fi lm professionals to communicate face to face with fi lm lovers around the world.

INTERNATIONAL FILM FESTIVAL OF INDIA




Federation of Indian Chambers of Commerce and Industry (FICCI) will be managing the India Pavilion at Cannes Film Market under the aegis of the Ministry of Information & Broadcasting, Government of India. The objective of the India Pavilion is to promote Indian cinema across linguistic, cultural and regional diversity, with the aim of forging an increasing number of international partnerships in the realms of distribution, production, fi lming in India, script development and technology, and Promoting fi lm sales and syndication. Established in 1927, FICCI is the largest and oldest apex business organization in India. A not-for-profi t organization, FICCI is the voice of India’s business and industry, encouraging debate, articulating the private sector’s views and infl uencing policy.

One of FICCI’s most important objectives is to facilitate communication and exchange between key industry fi gures, infl uencers and policy makers. To this end, the FICCI Media and Entertainment Division organizes

FICCI FRAMES, Asia’s largest and most defi nitive annual global convention on the business of entertainment. The 16th edition of FICCI FRAMES, FICCI’s fl agship event and Asia’s largest and most defi nitive annual global convention on the business of entertainment, will be held in Mumbai. Can be reached at the India Pavilion, 111 Village International Riviera.

FEDERATION OF INDIAN CHAMBERS OF COMMERCE AND INDUSTRY (FICCI)

MEET US AT INDIA PAVILLION, 111 VILLAGE INTERNATIONAL,

CANNES

LEENA JAISANI • Senior Director & Head -Entertainment Division • leena.jaisani@fi cci.com

SAMIR KUMAR • Deputy Director • samir.kumar@fi cci.com

VIKAS SARVANG • Deputy Director

DHARMENDER SINGH • Executive




MATHEW GEORGE • Managing Partner • [email protected]

Anurag Pictures was formed in 1990. We are exporters and importers of feature fi lms for distribution in theaters. There are two partners Mr. Mathew George and his son Mr. George Mathew.

ANURAG PICTURES

BHAVNA ISRANI • Head of Business Development [email protected]

VIVEIK TEWARI • Managing Director

Films. Music. Distribution. The literal meaning of Aghor is A + Ghor meaning non terrible. Aghor, simply put, means ‘the simplest’. Aghor Raj in the truest sense means the ‘rule of the simplest’. We at Aghor Raj, believe he who is simple and uncomplicated will rule the world. We apply the same philosophy when it comes to our work. The simpler the means of entertainment – the more it engages the audience.Objective : Films, music and television in India are the biggest avenues for entertainment. Aghor Raj Productions Pvt Ltd strives to bring to you cinema that believes in strong narrative and engaging characters. Aghor Raj Music India Pvt Ltd vouches to bring to the music lovers, music that is pure and serene. Our goal is to be a one-stop hub for all entertainment.

AGHOR RAJ PRODUCTIONS PVT LTD

SUNIL DOSHI • CEO • [email protected]

Alliance Media & Entertainment Pvt Ltd is a company with interest in acquisition, distribution, talent management, advertising and fi lm production. Objective at Cannes: Acquisition (including remake rights) of Film, Short Films and Documentaries Content for non-traditional distribution in India.We enjoy a good business relationship with major European & Other World Sales Agents such as Wild Bunch, Celluloid Dreams, FilmSharks, Co-production Offi ce, Memento, Pyramide International, Films Distribution, The Match Factory, Bavaria Films, Studio Canal, MK2, Pathe, Finecut, Becker Films, SVT, AB Svenska, etc.Alliance also through its division Handmade Films which is a boutique production house aims to produce high quality of fi lms which are different, unique and out of the box in their approach, form and content.

ALLIANCE MEDIA & ENTERTAINMENT PVT. LTD




NAGA SOBHANADRI YARLAGADDA • CEO • [email protected]

Founded in 2001, Arka Mediaworks is one of the leading TV and Movie production houses in India. Arka has many successful long running TV shows and currently produces 6 TV serials across several Indian languages. As a movie production house, Arka has produced several successful and critically acclaimed fi lms such as “Maryada Ramanna” and “Vedam”. Arka is currently producing “Baahubali”, a two part Indian epic directed by director SS Rajamouli.Objective: Scheduled to release worldwide in Summer 2015, Baahubali is one of the largest fi lms to be produced by a media house in India. Our objective is to get the widest possible international release for this fi lm.

ARKA MEDIAWORKS (P) LIMITED

GURMEET SINGH • Managing Director • [email protected]

Blockbuster Moviesss Pvt. Ltd. is the brain child of Mr. Gurmeet Singh who is also the Chairman and Managing Director of the GCS Group of companies based out of Chandigarh. GCS Group is a Rs 400 million group that has been in the business of imparting education, through the length and breadth of the country for over two decades now. Blockbuster Moviesss has already co-produced a couple of ventures so far that would be presented nationally and internationally in the following few months. Our objective here is to creative commercially viable productions, that would be all out entertainers and viewable by the family. Our prime focus would be on stories/movies that give a strong social message and this would be our contribution to the society. These would be of all genres to suit all age groups with no bar of language discrimination or of any other kind.

BLOCKBUSTERS MOVIESSS PRIVATE LIMITED

KATHARINA SUCKALE • COO / Producer [email protected]

Bombay Berlin Film Production [BBFP] is a company based in Mumbai, India. At Cannes Film Market, BBFP looks forward to meet investors, distributors and world sales companies for two fi lm projects for the International as well as the Indian market. It also looks forward to meet producers and broadcasters, who search for line producers in India, who have experience in producing in the West as well as in India.As an Indian-German company based in Berlin and Mumbai we produce fi lms for cinema and television for the international market. We have been EP on the fi lm “Prague”, released in 2013, co producer on the US-Indian feature “Monologue”, developer of an animation series and other line production services. We are in post-production of our latest German-Indian-US co-production “LOEV”.

BOMBAY BERLIN FILM PRODUCTION LLP




AMITA SARKAR • Deputy Director General • [email protected]

ANAMIKA KALIA • Deputy Director • [email protected]

KAVITA SAINI • Executive Offi cer • [email protected]

The Confederation of Indian Industry (CII) works to create and sustain an environment conducive to the development of India, partnering industry, Government, and civil society, through advisory and consultative processes. CII has been coordinating the India participation at the Cannes Film Market for over a decade, positioning the Indian Entertainment industry on the global landscape. Apart from promoting select Indian states as ideal shooting locales globally, the CII in their booth in Palais would also be coordinating B2B meetings between Indian and international stakeholders. CII M&E division’s annual fl agship conference ‘The Big Picture Summit’ would take place on 19-20 September 2014 at New Delhi with the objective of “Taking Indian M&E industry to $100 billion”. The theme for this year is ‘Make in India, Show the World’. We cordially invite international delegations and participation for the Summit. Can be reached at PALAIS 01 Stand 22.02.

CONFEDERATION OF INDIAN INDUSTRY

SHOMSHUKLLA DAS • Director • [email protected]

UDITVANU DAS • Actor

Cut to Cut is an independent feature fi lm production company based out of Mumbai, India. Cut to Cut has produced the award winning features fi lms such as Sandcastle (Best Cinematography, Tenerife IFF 2013), A Holiday & A Picnic (Best Cinematography, Madrid IFF 2014, Best Male Lead, IFF World Cinema 2015). Their latest offering is a psychological horror fi lm, Hopscotch.Objective : To showcase an award winning woman director and team driven thoughtful independent cinema to a global audience

CUT TO CUT

RAVI MUPPA • Head of Development •[email protected]

The production company is behind hit Bollywood fi lms such as Shor in the City, Happy Ending, Go Goa Gone, 99 and Flavors. Owners Raj Nidimoru and Krishna DK, are a directing duo and have won many awards and accolades for their unique story telling and fresh sense of humor. Their quest to explore various formats of storytelling through fi lms, TV content and New media has resulted in the formation of D2R Films.

D2R FILMS




NEHA KAUL • Head - Intl Distribution, Syndication• [email protected]

MAMTA KAMTIKAR • Senior Manager - Intl Distribution, Syndication • [email protected]

SNEHA SINGH • Senior Associate - Intl Distribution, Syndication • [email protected]

Bringing together the best of both worlds, the Walt Disney Company and UTV have formed Disney India Studios - one of the leading fi lm studios in the country. The activities of Disney India Studios span across creative development, production, marketing, distribution, licensing, merchandising and syndication of fi lms worldwide. Objective : Showcase of the current line up and commercial exploitation of theatrical and non-theatrical rights of library content for European, South Asian, North Africa, Middle East, Russia, Far East and South/Latin American markets. Our lead products for the season are ABCD 2, Phantom, Katti Batti and Jagga Jasoos. Other popular titles are PK , Haider,, Kick, Khoobsurat. Also on offer is the studio’s award-winning library of iconic Indian fi lms.

DISNEY INDIA

LAURENT AMAR • Directeur des relations publiques internationales • [email protected]

DQ Entertainment International is engaged in high-end 3D & 3D Stereoscopic TV & Movie productions of global Intellectual Properties such as The Jungle Book, Iron Man I & II, Casper I & II, Lassie & Friends, Charlie Chaplin – the Legend, Little Prince TV Series & Movie, Little Nicolas TV Series & Movie, ThePenguins of Madagascar,( for Nickelodeon) - 2 seasons and several others. The company has also developed TV movies and series for the Indian market with Disney India, Nick ndia and Cartoon Network. DQ Entertainment produces animated children’s content for worldwide licensing and distribution alongside partners such as Walt Disney Television Animation ( for service) Nickelodeon ( for service), major French broadcasters TF-1/ M6/ France Televisions, major German broadcasters – ZDF Group, Italian broadcasters – RAI Fiction & RAI Films, Al Jazeera (for 22 Arabic nations) and several other leading producers such as Classic Media-USA, Method Animation-France, Moonscoop-France, Gaumont Alphanim-France etc.

DQ ENTERTAINMENT INTERNATIONAL LIMITED

RAMESH TEKWANI • President • [email protected]

Docs & Shorts has been created to help the movie makers keep abreast of opportunities, techniques and technology to make their movies, introduce their movies to audiences at festivals, in theatres;If you are looking for good documentaries, shorts and good alternative content, especially from IndiaContact Ramesh Tekwani, President, Academy of Research and Production for Docs & Shorts,Independent Cinema and Alternate Content. Quite simply put “Docs & Shorts®”. (www.docsandshorts.org).

DOCS & SHORTS




MANISH MUNDRA • Founder and Promoter • manish@drishyamfi lms.com

SVETLANA NAUDIYAL • International Sales and Promotion • [email protected]

SHRADDHA CHAUHAN • Distribution and Marketing • shraddha@drishyamfi lms.com

We are a production company, looking forward to build a platform for unique voices of Indian independent cinema and creating global content with rich Indian fl avours. Masaan (Cannes 2015), Dhanak (Berlinale 2015) and Umrika (Sundance 2015), are some of our recent productions. Our upcoming fi lms include feature drama Waiting by Anu Menon and experimental collaborative feature X-the fi lm by eleven Indian directors.

DRISHYAM FILMS

NILA MADHAB PANDA • Director • [email protected]

Eleeanora Images has produced over 70 documentaries, TVC’s, Short fi lms and drama, two mega TV serials and four feature fi lms. The larger aim, though, has always remained to produce cinema aimed at sections across the society, audiences, age groups and genres with a global perspective. The founder and managing director Nila Madhab Panda’s vision has shown the outcome through the organisation.The last two major fi lm productions have been very successful. The highly acclaimed I Am Kalam, has already won 28 International awards, one national award, two Industry award (Filmfare and screen) and several nominations, which travelled over 60 International fi lm festivals. The second fi lm “Jalpari the desert Mermaid” well received critically acclaimed as well as well received by the audience.

ELEEANORA IMAGES

AVI VASU • Director • [email protected]

AKSHATA HONAWAR • Executive Producer

Stories form the backbone of everything we do. Anything we work on is structured on the story it represents. Whether is a visual or a literary medium we employ, the essence of the story is the strongest component. And what makes good stories are great characters. At Erango, we aim to create unforgettable characters that live extraordinary stories.Objective : Our mission is to create productions which will be India’s unique contribution to the world of art. Exceptional ideas, Captivating stories, Filmic creativity, Leading edge expertise all come together under one banner ‘Erango’

ERANGO MEDIA




GIRISH JOHAR • Film Division Revenue Head • [email protected]

AKASH CHAWLA • Business Head - Essel Vision Productions Ltd

With an ardour to create different content and an attempt to strike a balance between the quality and business of feature fi lms and television, Essel Vision Productions was instituted in June 2012 as a part of Essel Group of Companies. The company has already made a mark on the map of Television and Feature Films; both in Hindi and Marathi space.With a glorious past of fi lms like Gadar, Gulaal, Natrang, Kaaksparsh, Essel Vision has taken its fresh humble beginnings to another high with the historical success of its Marathi venture ‘Duniyadaari’ and the critical reception of ‘D Day’. Its other creation ‘The Lunchbox’ has already received accolades around the world. In the television space also, the company is holding its fl ag high

ESSEL VISION PRODUCTION LTD

KUMAR AHUJA • President - Business Development• [email protected]

PRANAB KAPADIA • President Marketing & Distribution• [email protected]

ALICE COELHO • President - Business Development• [email protected]

Eros International Media Ltd is a leading global company in the Indian fi lm entertainment industry that acquires, co-produces and distributes Indian fi lms across all available formats such as cinema, television and digital new media. Eros International is part of Eros International Plc, which became the fi rst Indian media Company to raise capital and be listed on the New York Stock Exchange. Eros International has experience of over three decades in establishing a global platform for Indian cinema. The Company has a competitive advantage through its extensive and growing movie library comprising of over 1,200 fi lms, which include Hindi, Tamil, and other regional language fi lms for home entertainment distribution. Eros International has built a dynamic business model by combining the release of new fi lms every year with the exploitation of its fi lm library.

EROS ENTERTAINMENT

MUTHUVELU KUMAR • Chief Operating Offi cer• kumar@fairfi lms.in

FAIR FILMS is a istributor of Engish and non English fi lms to India and SAARC countries. Our main activities are fi lm distribution, animation series, children’s programmes, reality shows. We are looking for different kinds of feature fi lms, TV series, reality shows for India and SAARC. We are looking for different kinds of feature fi lms.

FAIR FILMS




KEITH GOMES • Director - Producer• [email protected]

Faizee Production was founded in 2006, and our fi rst feature production Shagird directed by National award winning director Tigmanshu Dhulia. The fi lm released in 2010. Currently in production is a regional feature Masti and Mystery which is slated for a 2015 release.

FAIZEE PRODUCTION

KULMEET MAKKAR • Chief Executive Offi cer • kulmeet@fi lmtvguildindia.org

GUILD - Enhancing the value of Cinematic Arts- The Film & Television Producers Guild of India Limited is an autonomous non-profi t premier fi lm trade body comprising of industry stakeholders, is to be a principal negotiator with the Government on various critical issues, resolving intra and external trade disputes of the industry, liaising with foreign delegations to provide international exposure for its members, arranging conclaves for the benefi t of members. Established in 1954 by the stalwarts of the Indian fi lm industry including B.N. Sircar, S. Mukherjee, The Film & TV Producers Guild is today the most progressive body in show business.. Over the years, the Guild has also been instrumental in organizing fund raisers such as Help Telethon Concert in aid of tsunami victims and seminars & conventions with infl uential trade bodies like FICCI and CII. Also, the Guild has instituted the Apsara Film & Television Producers Guild Awards for excellence in fi lm and television.

FILM & TELEVISION PRODUCERS GUILD OF INDIA LTD

TRIPAT PAUL AGGARWAL • Vice President • [email protected]

RAVI KOTTARAKARA • Vice President • kotfi [email protected]

K S RAMA RAO • Vice President FFI

SUPRAN SEN • Secretary General • supransen.fi [email protected]

The Film Federation of India (FFI) is an apex body of the Indian fi lm producers , distributors, exhibitors and studio owners. The primary objective of the Federation is to promote commerce in general and in particular to promote, protect and watch over the interests of the Indian Film Industry and allied industries and trades, including the interests of producers, distributors and-exhibitors of fi lms and of all other persons connected with the fi lm industry. The FFI selects the Indian offi cial entry for the Academy Award for Best Foreign Language Film each year.

FILM FEDERATION OF INDIA




ABHIJEET SINGH BAGHEL • Executive Director Buyer• asb@fi lmvillage.in

Film Village is a new-age Sales and Licensing Co. that represents select Indian titles for world sales and all-rights of Foreign language fi lms for Indian subcontinent. FilmVillage has its own distribution arm for select Bollywood titles in Europe. YRF’s “Mardaani” starring Rani Mukherji is our latest release in Poland. FilmVillage specializes in licensing of Intellectual property rights and also packages feature-fi lm projects in popular genres worldwide.We are looking for acquisition of new-age Bollywood / Indian Crossover titles for European territories and Licensing exclusive catalogue of blockbuster German titles for Re-make, adaptation and brand extension.

FILM VILLAGE SALES

ROHIT SHARMA • Head of International Sales & Distribution• [email protected]

KANIKA VASUDEVA • VP - International Sales & Distribution Buyer• [email protected]

Fox Star Studios India is a joint venture between 20th Century Fox and STAR, Asia’s leading media conglomerate, to produce world-class local- language fi lms for worldwide distribution.Fox Star Studios fi rst fi lm ‘My Name is Khan’ was a worldwide success and since then the studio has worked with some of the biggest talent in India to produce critically acclaimed fi lms that have been appreciated all around the world. We have an exciting line-up of 12 fi lms for this year at the Cannes Market.This market we shall be screening Bombay Velvet directed by the acclaimed director Anurag Kashyap which has Ranbir Kapoor , Anushka Sharma and Karan Johar. We shall also be screening the critically acclaimed fi lm - The Crow’s Egg.

FOX STAR STUDIOS INDIA PVT LTD.

PINAKI CHATTERJEE • Producer • [email protected]

FUTURE EAST FILM was established to develop new forms of independent fi lm in India. The company’s fi rst feature length project, JOHN & JANE by Ashim Ahluwalia, premiered at Toronto Film Festival. It was the fi rst Indian project to be acquired by HBO Films for US theatrical release. Future East’s next feature-length fi lm, MISS LOVELY by Ashim Ahluwalia and world premiered in the Un Certain Regard section of Cannes Film Festival 2012.We are currently seeking international collaborators for co-production, fi nance, strategy, sales agents and TV broadcast and territorial presales/ancillary sales for new fi lm by Ashim Ahluwalia, THE BOYFRIEND which is also offi cially invited at the Producer’s Network in Cannes 2015 after having made successful rounds at Cinemart Rotterdam and Goa Film Bazaar 2014.

FUTURE EAST FILM




SUNITHA TATI • CEO - Producer• [email protected]

ANANTHAKUMAR RENGASAMY • Producer

MATHANGI SRINIVASAMUTI • Producer

Guru Films Private Limited (GFPL) is a premier fi lm production company based out of Hyderabad, India. Created specifi cally to exploit the rapidly growing fi lm industry of South India, GFPL plans to quickly capture and dominate the South Indian regional fi lm market space.GFPL is currently engaged in building and leveraging a library of intellectual property across cinema, television, New Media and mobile technology.We have currently fi nished shooting the fi rst of our bilingual productions, ‘Courier Boy Kalyan’ (Telugu) and ‘Tamilselvanum Thaniyar Anjalum’ (Tamil); and are in the postproduction phase. They are set for release in the fi rst quarter of 2015.Our next two fi lm projects are in pre-production and will release third quarter of 2015.

GURU FILMS PVT LTD

RAVI KOTTARAKARA • Producer, Director, Distributor • kotfi [email protected]

Ganesh Pictures and Kottarakara Films, headed by Ravi Kottarakkara, are oldest and reputed production houses. Inspired by his father’s fi lm ‘pasamalar’,Ravi joined his production company at very early age during 1978. Acted in several fi lms, his never ending frenzy and passion to the fi lm industry persuaded him to learn editing, cinematography, direction. He started to assist his father in all his fi lm production activities. Fully involved in fi lm production from 1982, 71 straight fi lms were produced in the above banners in Malayalam, Kannada, and Tamil languages. Ravi has written & directed fi lms in Kannada. Produced fi lms that entered the national & international fi lm festivals and won awards. Some of the fi lms –ee shabdam enathe shbadam, adyathe kanmani, dosth. He has also distributed 76 foreign fi lms in India. He is also Vice President – Film Federation Of India Nine Years. Producing Underproduction –Dod [Malayalam] Ondudina Koskara [Kannada] Member –Censor Board, Central Board Of Film Certifi cation, - Labour Advisory Board Central, Ministry Of Labour, Member In The Selection Of /Mainstream Section For Indian Films In The International Film Festival. Jury-For Many Film Awards

GANESH PICTURES

BEENA UNNIKRISHNAN • CEO• beena@irisgreenfi lms.com

ANIL KUMAR • Director

IRIS GREEN FILMS is an independent motion picture production company assembled from creative and business entertainment industry professionals [Mr ANIL KUMAR ,Dr M M ALEX and Mrs BEENA UNNIKRISHNAN ] with a common goal of producing national and International fi lms which fi nd market amongst the world wide audience.As we are in the pre production stage of three movies for worldwide release ,we want to prepare ourselves on the independent fi lm market ,the one that has emerged as a legitimate competitor to the traditional Hollywood studio system ; to raise the profi le of the company , to explore on funders and funding systems ,meet the expertise world cinema.

IRIS GREEN FILMS




MRINAL CHAWLA • Production Assistant • [email protected]

Jungle Book Entertainment is a vision shared by Pan Nalin & Gaurav Dhingra. What sets Jungle Book apart is that we are producing movies & TV content for the international market. Jungle Book has the fl air for telling timeless tales with origins in South East Asia and more specifi cally India. Jungle Book plans to produce youth oriented Hindi movies with innovative ideas and original stories. We have researched shifting tastes of Indian audiences, and the time has come to cash on to these opportunities where a great story, smart production, realistic budgets and clever marketing strategy can yield guaranteed successful results.Jungle Book with its base in India is specifi cally positioned to captivate TV and Film audiences on an International scale.

JUNGLE BOOK ENTERTAINMENT

ROOPA BARUA • Producer• [email protected]

Kahini Media is a production company based out of Mumbai, India. We undertake all production activity , be it short fi lms, music videos or full length feature fi lms. Kahini Media has produced award winning music videos and documentariesKahini Media is presently involved in producing a couple of full lenght feature fi lms that appeal to a global audience. Since our post production is carried out at state of art facilities in Mumbai ( Bollywood) India, we are also very effi cient at controlling the cost of production.

KAHINI MEDIA

BOBBY BEDI • Producer• [email protected]

Films produced by New Delhi-based Kaleidoscope Entertainment include Bandit Queen, Fire, Electric Moon, Saathiya, Maqbool, American Daylight, and The Rising. Kaleidoscope is regarded as one of the leading production houses in the Indian fi lm and television Industry, and one of the few that have created content that has successfully crossed over to western audiences.KEPL was started by producer Bobby Bedi, who remains it’s Managing Director. KEPL has worked with some of the fi nest talent in the Indian Movie industry from Shekhar Kapur, Vishal Bhardwaj, Aamir Khan, Abbas Tyrewala to International Stars such as Nusrat Fateh Ali Khan and A. R. Rahman.

KALEIDOSCOPE ENTERTAINMENT




KAJAL CHOUDHURY • Producer Director• [email protected]

Our list includes Long Journey to Calcutta (feature fi lm 90 minutes), Burning Calcutta (feature fi lm 90 minutes), Do or Die feature fi lm in pr-production and Matriarchale Society in India, a 52-minute documentary. We are in Cannes for new projects and co-production investment.

KK PRODUCTIONS

RAJESH JAIN • Producer• [email protected]

PREETI JAIN • Producer

Coming from the background of handicraft Mr. Jain brings the same craftsmanship in his slate of fi lms also, His fi rst fi lm was critically acclaimed and National award winning “IAM”. His another venture as TV serial “ANUDAMINI “at National channel is fi nishing its 200 episodes and counting on. We are ready with our next feature project “Blue Mountain” it is in the right space being an authentic Indian fi lm and story but reaches out to world audience too.

We have recently fi nished the feature fi lm “Blue Mountains”

KRISH MOVIES

BHUVAN LALL • Chairman - Founder• [email protected]

India born creative entrepreneur & investor Bhuvan LALL launched the privately held global entertainment company - LALL Entertainment - Animation, Broadcasting & Cinema, at the Cannes 2003. Our vision is to create global content with an Indian soul. Our mission is focused on strategic investments in world - class intellectual properties bridging Hollywood, China & India. Our philosophy is “Think Globally Script Locally”Focused on strategic investments in world class intellectual properties & in producing “Global fi lms with an Indian soul” we are now Producing Daughter by Court Order - a national best seller in India, “The Man India Missed The Most - Subhash Bose” and the multi million dollar Hollywood fi lms Mahabharata and the life of Buddha.

LALL ENTERTAINMENT




GURJOT SINGH • Producer• [email protected]

REETH MAZUMDER • Producer

Let’s Ring The Bell Productions was formed in the year 2011. It was established by young and enterprising entrepreneurs Reeth Mazumder and Gurjot Singh (Johnny Baweja). The Flagship feature fi lm of the Company titled “SWEN”, completed in September 2012.Currently our objectives are: 1.To meet like minded people for producing projects in future. 2. Release of our feature fi lm “I Killed him” in International market. 3. To promote our company as a Line Production company in India providing each and everything at the best affordable rates, required for shooting. 4. To provide the best animation and graphics work at a good price and good quality. 5. Looking for a co-producer for our animation fi lm on Sikh Warrior.

LETS RING THE BELL PRODUCTIONS

SHILADITYA BORA • Managing Director• [email protected]

Long Live Cinema is a labour of love for all things cinematic — an integrated fi lmed entertainment company with a core focus on distribution and syndication of motion pictures across all platforms and languages. We are the India distributor of Venice winner COURT. We specialise in theatrical release, online distribution, movie marketing and movie on demand. We also syndicate content for airlines and DTHWe have only one goal: to help quality cinema reach its audience, and then to maximise it.

LONG LIVE CINEMA

SUDHISH KAMATH • Writer, Director, Producer• [email protected]

Sudhish Kamath founded MADE IN MADRAS ink, the fi lm production company that produced That Four Letter Word, Good Night Good Morning and X.He conceived, Directed and Wrote a collaborative experimental feature fi lm called X with ten Indian fi lmmakers starring Rajat Kapoor. The movie premiered as the Opening Film at the South Asian International Film Festival and in the World Cinema section of the International Film Festival of Kerala and is releasing theatrically in India and the US mid 2015.

MADE IN MADRAS INKOPERATED!




HIRACHAND DAND • Chief Operating Offi cer• [email protected]

Madhu Entertainment & Media Ltd. is a global media distribution and marketing powerhouse for Indian media content. Over the last two decades it has grown from strength to strength and today has to its credit India’s most diverse fi lm catalogue. In the last few years, the company has further expanded to production of regional fi lms & television content.

MADHU ENTERTAINMENT & MEDIA LTD.

HARRY SACHDEVA • Managing Director• [email protected]

Magical Dreams is involved in production of mainstream cinema and tele serials, its 2015 project titled 31st October , a fi lm on Indira Gandhi’s assassination and its aftermath is the fi rst Indian fi lm of its kind. MDPPL further plans to expand production into global market and collaborating with international production houses. We are at Cannes to explore co-production opportunities for projects that cater to world audience Also, exploring opportunities for world wide release of our home production 31st October,fi rst fi lm on Indira Gandhi’s assassination and the aftermath.

MAGICAL DREAMS PRODUCTION PVT LTD

SAILESH DAVE • CEO• [email protected]

Mantra Runaway Entertainment is a production company specializing in Independent fi lms’ fi nancing, distribution and funding. Our last movie “Writers” was shown at more than ten fi lm festivals across the world including Zurich International Film Festival. We are currently planning to produce three more fi lms in the next twelve months. We have an offi ce in Los Angeles and we continue to strive for new outlets for Independent fi lms and alternative distribution networks.At Mantra/Runaway Entertainment, we encourage new fi lm makers, great storytellers and just about anybody who has passion for telling engaging stories, cinematically. We develop scripts, ideas, treatments, we also option ready scripts, and of course, we provide completion fi nancing for selected projects.

MANTRA RUNAWAY ENTERTAINMENT




HARSHAD BHAGWAT • Director• [email protected]

Mercury Integrated is a boutique events and entertainment services company based in Mumbai, India. Mercury Integrated is the promoter of India IIFTC Locations Show - India’s largest fi lm locations show and CinePort - India’s fi rst fi lm tourism focused magazine.IIFTC Locations Show is the fi rst stop for fi lm commissions and tourism boards to meet the vast and vibrant Indian fi lm industry. IIFTC Locations show is promoted in association with the Film Federation of India (India’s apex fi lm trade body). IIFTC Locations show takes place across India’s 3 largest fi lm markets (Chennai, Hyderabad, Mumbai) in a road show format, giving you access to a large studios and big production houses, who are looking for stunning shooting locations around the world.

MERCURY INTEGRATED

RANCHOR JUMANI • Buyer• [email protected]

AMIT JUMANI • Director• [email protected]

Mumbai-based Metro Pictures has been regular to Cannes and acquires movies for distribution in India and few other markets.Metro Pictures’ recent acquisition include THE HERO OF COLOR CITY by Frank GLADSTONE (Theatrical, TV, DVD-video, VOD)ICEMAN 3D by Wing Cheong LAW (Theatrical, TV, DVD-video, VOD)YOUNG DETECTIVE DEE: RISE OF THE SEA DRAGON by Hark TSUI (Theatrical, TV, DVD-video, VOD)

METRO PICTURES

VIPUL VALVI • Producer• [email protected]

RITURAJ SETHIA • Producer

Motion Makers is an Animation and Visual effects company situated in Mumbai, India.We produce feature fi lm, television, commercial and visual effects.Motion Makers also provides a full-service solution for feature animation, visual effects, and fi lm property development from the basic concept to the fi nal fi lm print.We are currently looking for buyers / distributors to distribute our full length animated feature “Nephilim”. We also plan to meet producers and seek remaining fi nance for 3d animated Movie Code 4 (Alien Attack) and Elephant Monk, Finalise actors for voice overs.We are constantly on the lookout for collaborations, co-productions for more work in fi eld of Animation and VFX

MOTION MAKERS ANIMATION STUDIO




UDHANI SUNIL • Head of Distribution• [email protected]

Multivision Multimedia India P Ltd is a major independent distributor of Hollywood fi lms for All Rights in the Indian Sub-Continent. Released titles include “Monster-in-law”, “Hostage”, “Crash” etc; Upcoming releases include “16 Blocks”, “Final Destination-3”, “Bandidas”, “Dreamer”, “Matador” etc. In a short span, the company has acquired 80 plus titles including “RamboIV”, “Flyboys”, “BorderTown”, “StormBreaker”, “King of California” etc.The company has established a strong network for exploitation of fi lms all over the Country. Looking for long term relationships with established Production Houses/Sales Agents.

MULTIVISION MULTIMEDIA INDIA PVT LTD

RAJSINGH ZANANE • Film Director• [email protected]

RAJESH ACHARYA • Producer• [email protected]

We are a knowledge pool of rising talents with experienced professionals, working in diversifi ed areas of fi lm production, technology innovation and implications. Nanotechnology refers to the projected ability to construct items from bottom up, using techniques and tools being developed today to make complete high performance products. Therefore, the Company, considering the facts that like nanometer it considers even the smallest thing as important, coined the name of the company as Nanoland.BEYOND BLUE is produced by Dr. Acharya who is also a corporate advisor to the Nanoland Group. Nanoland’s main objective is to make fi lms that make a difference. Be it to the society, culture or simply to bring back the declined parallel cinema of India in the form of Indo - Realism with Zanane Rajsingh’s vision. Nanoland is producing a fi lm on climate change written by Dr. Acharya and directed by Zanane Rajsingh called It’s Tomorrow. The fi lm’s objective is to break the myth of Global Warming

NANOLAND LTD

SHRIPRIYA DALMIA THIRANI • Director• [email protected]

Nanu Productions was founded in 2012 by Shripriya Dalmia Thirani. We are a successful fi lm production house, which is already two fi lms old, one being a docu-drama, and other, a soon to be released Bollywood fi lm that deals with burning issues of Honor Killing. We currently have fi ve main stream fi lms under production with respected directors and production houses of Bollywood, which are scheduled to release in the next three years. We are also exhibitors, and own six movie theatres in India.Excellence through innovative mind with knowledge, skill, and understanding of all aspects of fi lm business for cost effective, creative and quality fi lm making”

NANU PRODUCTIONS




NINA LATH GUPTA • Managing Director• [email protected]

RAJA CHHINAL • Head Overseas Promotions & Markets• [email protected]

FATEMA NAGREE • Business Development Manager• [email protected]

MANAS MALHOTRA • Co-Director, Film Bazaar• [email protected]

Incorporated in the year 1975, NFDC was formed by the Ministry of Information and Broadcasting, with the primary objective of promoting the Good Cinema Movement.NFDC has produced noteworthy fi lms and extended fi nancial support to more than 300 fi lms in 21 regional languages.NFDC organises Film Bazaar (FB), South Asia’s global Film Market, from 20 - 24 November every year in he Goa, along with the International Film Festival of India (IFFI). Film Offi ces, a new segment, introduced in FB 2014, is a platform for Film Commissions &Tourism Bodies to showcase locations and incentives to fi lmmakers.The objective of setting up the NFDC Stall is to actively seek distribution partnership with International production &distribution houses and sales agents for new fi lms and for our catalogue of more than 300 fi lms.

NATIONAL FILM DEVELOPMENT CORPORATION NFDC

SUDHANSHU HUKKU • Chairman - Managing Director• [email protected]

Locations Annual Exhibition Conference in Mumbai, India. Line and Locations Co Ordination for Indian Films Globally. Co production Sourcing.

NOVEL EVENT WORKS

GIRISH MALIK • Producer and Director• girish@oneworldfi lms.in

One World Films Pvt. Ltd. is a rapidly growing production house; with the goal to produce fi lms which carry a universal connect. We intend to bring unheard stories from Indian subcontinent to the attention of fi lm afi cionados spread over the globe. OWF also intends to make inroads into international fi lm sales and distribution through thought provoking, artistic cinema with a widespread appeal. our fi rst fi lm JAL (Water) was selected in Oscar contention for Best Original score and Best Picture. We are looking for fi nancing and co-production partners with shared goals for our international projects.

ONE WORLD FILMS PVT. LTD.




CELINE LOOP • Producer• [email protected]

Overdose is a fi ercely independent fi lm production house based in Kolkata. They create locally rooted but globally relevant feature fi lms, documentaries, music videos and potent virals, and are committed to producing original content that pushes boundaries. Overdose is a young company, but has already established a unique brand profi le by working at the highest international quality standards with limited fi nancial resources.They have an eclectic network of artists, technicians, distributors, commissions, broadcasters, and a loyal fan base across the globe. Objective: Networking and fi nding partners for our next projects in development, production and post production.

OVERDOSE ART PVT LTD

ABHISHEK PATHAK • Managing Director• [email protected]

ABHISHEK GORADIA • Senior Manager Acquisition and Syndication Buyer

Panorama Studios, together with its subsidiaries and associates, is a diversifi ed Indian fi lm Studio with various business segments such as Production, Distribution, Talent Management, Advertisement, Syndication, Equipment rental and Line production. Panorama studios attracts the best talent in media and entertainment to create, package and deliver high quality cinema worldwide.To Produce, Distribute, Market and Exhibit visual entertainment worldwide thus ornamenting the market and business. Panorama Studios aims at achieving status of undisputed leader in Indian Film & Entertainment Industry.

PANORAMA STUDIOS

NATARAJAN VIDYASAGAR • Editor and Publisher• [email protected]

Pickle bridges the information gap and does a reality check on where we stand in the Indian M&E space. Our main objective is to enable creative and business professionals from India to work with overseas companies and professionals and vice-versa. Pickle’s goal is to help you buy, sell and distribute content from overseas territories, fi nd co-production partners, offshore with best of the Indian service companies and track media and entertainment business in India.We bring out India focused issues and reach out to delegates at CII Big Picture Summit (August) Toronto International Film Festival/Market (September), MIPCOM (October), American Film Market (November), ATF Singapore (December), European Film Market and Berlinale (Jan-Feb), FICCI FRAMES (March), MIPTV (April), Nab Show (April) Cannes Film Festival and Marche (May) and Annecy (June).

PICKLE




AVINAASH JUMANI • Film Acquisitions Buyer• [email protected]

PictureWorks is acquiring Hollywood and Foreign language feature fi lms and documentaries for India and the Indian sub-continent territories.

PICTUREWORKS

SHONA URVASHI • Creative Producer• [email protected]

RAMAN LAMBA • Producer

For over 50 years, the PLA group is a path setter in the Indian Film Industry.The PLA group is associated with every fi eld of the Entertainment Industry in India and abroad.PLA entertainment is interested in creating strategic partnerships to develop innovative international and Indian software. We have a slate of fi lm projects for an international market and are looking for co producers for these projects.

PLA ENTERTAINMENT

AMIT KUMAR AGARWAL • COO• popcornfl @hotmail.com

Popcorn Flicks & its subsidiary, Indie n Dogma fl icks are Film Production and Film Facilitation organizations based out of India. Main Objective in ‘15 is to move our mainstream feature-fi lm, Virgin.. Mira (already shot as a scratch fi lm) from development & pre-production to production stage. We have also been appointed by a newly launched Film Festival in India to be held in November-December ‘15, to look out for artistically driven fi lms, across genre, that fi t in the Festival schedule.Popcorn is at Cannes Film Festival 2015 to 1. Move our mainstream feature-fi lm, Virgin.. Mira (already shot as a scratch fi lm) from development & pre-production to production stage. 2. Program & schedule fi lms for a newly launched Film Festival in India, to be held in Nov-Dec ‘15 3. Explore possibilities for production / co-production 4. Acquisitions of unconventional and non-conformist fi lms for the Indian Market 5. Possible collaborations with talent 6. Network for future business

POPCORN FLICKS




SANJEEV KUMAR • Joint Managing Director Buyer• [email protected]

KAMAL GIANCHANDANI • President Buyer

DEEPAK SHARMA• COO Buyer

NIHARIKA BIJLI• Manager

Founded in the year 2002, PVR Pictures Limited is the largest independent studio for the distribution of Hollywood fi lms in India. 100% owned subsidiary of PVR Limited, PVR Pictures is the motion picture arm of the largest cinema exhibition company in the country. With a vision to showcase content- led movies, some of its forthcoming releases include ‘The Hateful Eight’,’Inversion’, ‘London Has Fallen’, ‘Skiptrace’, ‘Dirty Grandpa’, ‘The Legend’ among many others.Our objective is to acquire all rights for Hollywood fi lms and other language fi lms for India, Nepal, Bhutan, Bangladesh, Srilanka, Maldives, Pakistan.

PVR PICTURES

G.M RAM • Owner• rd_fi [email protected]

One of the Leading Distributor in India Film Industry, Importing Other Countries language Movies for India including Sub-Continental Territory. Our main Business are Importing Action/Adventure/Horror/Animation/Game Shows Reality Etc...Always interested to Import lot of Good other Countries Movies for India including Sub-Continental Territories...

R.D. FILMS

VA SHRIKUAMR • Managing Director• [email protected]

Push is a tribe of professionals from some of the biggest advertising agencies, who have come together to push the boundaries and to work in an environment that is collaborative rather than hierarchal. The nimbleness of the resource allows to explore effectively and leverage optimally. Each member of the team is empowered and responsible for results. Push makes an effort to question the conventional, if it means that it can produce exceptional results. Push houses art directors, designers, design educators, writers, strategists, planners and just overall fun people, who have been there and done that and seen it all. Meet us and you will see an astounding combination of people you always wanted to meet and people you’ve never known you needed to meet.

PUSH INTEGRATED COMMUNICATIONS PVT LTD




RUPESH PAUL • Producer - Director• [email protected]

SRITAMA DUTTA • Creative Director

From the maker of Kamasutra 3D and Saint Dracula 3D, comes RPPL, the new aeon production company with which Rupesh Paul gets into the hat of a producer apart from the director’s jacket. It is a fully integrated, broad-based entertainment company in creation, production and distribution of entertainment.RPPL deals with the best of 3D and Stereoscopy with an Animation division.It is the only distribution company of India with the highest and best International market links, around the world.For the Pre sale of Domestic & International Rights (Theatrical, TV, Video-DVD, VOD, Airline) of the following movies :a) The Vanishing Act – An Untold story of the MH 370 crash (Under Production)b) Monologues of an Indian SEX MANIAC (Under Post Production)c) 36 MM 3D – The Reincarnation of Marilyn Monroe (Under Production)d) Savita Barbie 3D (Under Production)

RUPESH PAUL PRODUCTIONS LTD (RPPL)

NEERAJA PATWARDHAN • Producer• sahajfi [email protected]

Sahaj Film Private Limited is founded in 2009 by Dir. Sandeep Sawant (Shwaas) and Neeraja Patwardhan. Our company is producing Sawant’s next directorial venture, a Marathi feature fi lm titled ‘Nadi Vahate’ Post production of the fi lm is underway. The fi lm will be complete by end of May 2015‘Nadi Vahate’ (A River Flows) is a Marathi Feature Film by Dir. Sandeep Sawant (Shwaas). The fi lm focuses on river with respect to environmental and social aspects. The fi lm will be complete by end of May 2015. We are looking for sales agent/ Acquisition/ Buyer Distribution for the same.

SAHAJ FILM PRIVATE LIMITED

SANJAY SHAH • Producer• [email protected]

SALAAM CINEMA is a Mumbai based fi lm production company established to develop and produce auteur driven fi lms for global audiences. The company was founded in 2013 by producer Sanjay Shah, who previously produced Ashim Ahluwalia’s Miss Lovely (Cannes Un Certain Regard) and worked as a Supervising Producer for National Film Development Corporation of India (NFDC).Looking for coproducers and sales agent for the company’s new feature LIBERATION (currently in development).

SALAAM CINEMA




B SHASHI KUMAR • [email protected]

C KALYAN • Former President South Indian Film Chamber of Commerce • President, Telugu Film Producers Council

South Indian Film Chamber of Commerce (SIFCC) is a South Indian fi lm producers, distributors and exhibitors association, headquartered in Chennai, Tamil Nadu, India. It consists of the Andhra Film Chamber of Commerce, Karnataka Film Chamber of Commerce, Kerala Film Chamber of Commerce and the Tamil Nadu Film Chamber of Commerce. The SIFCC was inaugurated in 1938.The current president of the organisation is B Shashi Kumar.

SOUTH INDIAN FILM CHAMBER OF COMMERCE

GUNET MONGA • CEO and Founder • [email protected]

Sikhya Entertainment is India’s prominent production, spearheaded by producer Guneet Monga. The company has carved a niche for itself in both national and international markets. At the core of their philosophy lies the belief in delivering meaningful cinema mirroring our society and thus, pay great importance to stories that need to be told, despite their geographic barriers and language. The organization seeks to see great content through. From its Inception, Development, Production to the fi nal release. The company includes a team of writers, producers, directors, line Producers, marketing and public relations professionals. As a passionate team, together, they seek to create new age content that transcends boundaries, mediums and formats while at the same time assisting supporters of good content in any area where it may be needed.

SIKHYA ENTERTAINMENT

JITEN HEMDEV • Managing Director Buyer• [email protected]

Star Entertainment is India’s most reputed and best Independent English Film Distribution Company since 1985, which has successfully distributed Hollywood Blockbusters and Entertainment/Animation programs in the Indian subcontinent for the past 20 years. We provide India’s cinemas, multiplexes, TV stations and DVD/Video outlets with some of the Worlds best Independent Films, Animation, Comedies, Sport Specials, Documentaries, Sit-coms, Educational programs carefully sourced from U.S.A., U.K.etc.To also acquire Big Budget, Star Cast/Special Effects laden fi lms for theatrical release simultaneous with USA release! To acquire Classics and Popular Hit fi lms from the past for TV /Video/Broadband/Mobile To acquire Animation, Educational, Music, Children and Special interest programs, TV comedies, TV serials

STAR ENTERTAINMENT P LTD




TRIPAT PAUL AGGARWAL • Chairman - Managing Director• [email protected]

Star Entertainment Worldwide Pvt. Ltd. was started in the year 1995. Though the M.D. Mr. T.P. Aggarwal had already been producing fi lms (for eg. Return of Jewel Thief 1996), with this company he proposed to take one step ahead to keep up with the increasing demands and new avenues opening up for this industry. Very soon in the near future, with his great vision he even plans to take this company public. Currently fi nancing and producing, Star entertainments pvt. ltd. is always on the look out for young talents, creative personnel, not only for the cinema but also for the small screen.

STAR ENTERTAINMENT WORLDWIDE PVT LTD

SANJAY JUMANI • Buyer - Seller Buyer• [email protected]

India’s leading motion picture distribution, production company & joint ventures in Bollywood having business over 41 years acquiring rights for India of Hollywood Movies & Supplying Bollywood to rest of the world over three decades. We have rights in all formats of our fi lms with subtitles and dubbing in several world languages in all formats Theatrical, DVD, Cable TV, In fl ight Entertainment, Terrestrial TV, V.O.D, You Tube & Internet rights, mobile, Digital Media & world Satellite Rights.To buy Hollywood Films for India, Joint Ventures in Production in India and to market Bollywood titles to different Countries in the world. we have over 100 Indian titles to offer you under one roof with superstars like Amir Khan, Salman Khan, Shahrukh Khan, Aishwarya Roy & many others.

SUNSTONE ENTERTAINMENT

KAMAL JAIN • CEO - Managing Director Buyer• superfi nefi [email protected]

Under the dynamic aegis of Kamal Jain - Superfi ne fi lms, Superfi ne Films Pvt Ltd along with its sister concern Superfi ne Films International LLP together have been at the helm of acquiring top-of-the-notch commercial entertainment contents for India & Sub Continent for last over three decades. Superfi ne group of companies are well recognized with immense repute by almost all major International Films/TV sales/Representative Companies, thereby giving Superfi ne a name of trust, repute & reliabilityPresent Primary objective and focus is to acquire All Rights for Commercial Driven, Action, Adventure, Special Effects, Fantasy Big Budget Genre fi lms and programs with ‘A’ credits or franchise fi lms for India and Sub-Continent which can be exploited in All the Platforms in India & Sub Continent.

SUPERFINE FILMS




SWAROOP KANCHI • Director / Producer• tapasfi [email protected]

Tapas Films was founded in 2007 by Swaroop Kanchi and their fi rst production was Hong Kong based independent english fi lm “Hong Kong Dreaming”. With their head offi ce in bangalore they line produced a british fi lm “Supraman and the school of necessity” in 2008, in 2010 “Bengaloored” an Indian indie english fi lm was produced and released nationwide theatrically to both critical acclaim and box offi ce collections, in 2014 they released their fi rst hindi fi lm “Yeh dil Ramta jogi” theatrically. TapaMy current Priority is to fi nd Co-Producers for my New fi lm “The Yogi” set to be shot in India late 2015. Also looking for Pre Sales for the Same. I am Looking for International Buyers for my previous Releases Bengaloored & Yeh Dil Ramta Jogi

TAPAS FILMS

JITENDRA ADAPPA • Producer • trikutafi [email protected]

Trikuta Films is in the business of Films & TV Production. TFPL has been catering to Multinationals & Corporate Houses, adhering to their high standards of technical & creative output in meeting the client’s requirements. TFPL’s strength is the combined experience of its Directors & its professionalism in executing projects it undertakes. TFPL is taking strides in feature fi lm productions, confi dent of taking on projects of any size with the guarantee to execute the same within a time frame.TFPL is venturing into World Cinema, aiming to produce culturally diverse and innovative fare that captivates the audiences’ imagination worldwide. TFPL’s focus is on doing International Feature Films by way of Co-Productions and is open to exploring new business opportunities in the fi eld. "Kadhie Aambat Kadhie Goad", an Indian family drama, made in its local language is TFPL'S fi rst feature fi lm offering. Its in the fi nal stages of post production & is being readied for a July 2015 release.

TRIKUTA FILMS PVT. LTD.

MODA VINEET • Global Business Development• [email protected]

AGRAWAL SUSHILKUMAR • Chairman - Producer

ALI SAYED MANZOOR • Head of Production

VEERA BHADRIK MEGHRAJ • Vice President - Marketing

ULTRA MEDIA & ENTERTAINMENT (est. 1982) is a fully integrated, broad based studio engaged in multiple aspects of entertainment, including full-scale fi lm and television production and distribution and digital media. Over the years, Ultra has diversifi ed into a wide spectrum of services such as fi lm production, post production services such as Scanning, Restoration, Colorization, 2D to 3D Stereoscopic Conversion and Merchandising.1) Present our new titles and market our library of 1500 titles. 2) Market our studio facilities such as 2D to Stereoscopic 3D Conversion for Theatrical, Television & Home Video Releases, 3D Lenticular images & posters, Restoration & Archival in SD, HD & 2K formats, 2K & 4K Scanning on ARRI scanner, DI Facility (Color Grading Unit), Audio Engineering, Colorization of B/W Content. 3) Present our newest technology of SD to HD and HD to 4K conversion.

ULTRA MEDIA & ENTERTAINMENT PRIVATE LIMITED




GAYATRI GULATI • Head Revenues & International Business• [email protected]

Viacom18 Motion Pictures is India’s fi nest fully integrated motion pictures studio that has emerged as a force to reckon with by delivering a stream of critically and commercially successful fi lms. Offering differentiated and meaningful cinema, some of its iconic releases have been Queen (2014), Bhaag Milkha Bhaag (2013), Madras Café (2013), Special 26 (2013) and Kahaani (2012) to name a few. The strategic alliance with Paramount Pictures to market and distribute PPI line-up in the Indian sub-continent has seen blockbusters like Transformers Dark of the Moon, Mission Impossible: Ghost Protocol, Madagascar 3, Hugo, Paranormal Activity, G.I. Joe: Retaliation and Jack Ryan: Shadow Recruit to name a few.

VIACOM18 MOTION PICTURES

MANISH DUTT • Managing Director Buyer• manish.dutt@vrfi lms.in

Importer of foreign language fi lms for India territory, exporter of Hindi fi lms, import Films for TV / Home Video / Digital Media, theatrical distribution in India, dubbing studios which acquire and provide dubbing related services to various clients worldwide for Indian languages like Hindi, Tamil, Telegu and English.To acquire Foreign language fi lms mainly English language fi lms for ALL RIGHTS for INDIA and sub continent.

VR FILMS & STUDIOS PVT LTD

AVTAR PANESAR • Vice President - Intl. Operations• avtar@yashrajfi lms.com

Yash Raj Films (YRF) founded by the Late Yash Chopra a veteran of the Indian Film Industry. The only privately held Studio in India, YRF is a 45-year-old conglomerate and a vertically integrated Studio in every sense, controlling almost every part of the value chain from Production to Post Production, Distribution to Music Studios, Licensing & Merchandising etc. based out of Mumbai. YRF has recently built a state of the art studio that houses shooting stages, sound studios and its corporate HQ.To showcase the current slate of YRF fi lms for 2015. Selling, My Big Fat Bride, Calcutta Detective, Piku and Fearless as well as the tentpole “FAN” starring Shah Rukh Khan. We are also looking to syndicate the YRF catalogue of fi lms along with “Dhoom: 3” the biggest action franchise from India .

YASH RAJ FILMS




PIERRE ASSOULINE • Producerinfo@westeastfi lms.com

Production, Production Consultancy and Services in India Our expertise: To translate fi lm production practices in India into your expectations as a Western producer or fi lmmaker.Western producers are, in increasing numbers, approaching us to resolve their problems in recreating their usual work environments when shooting or doing post-production in India. They come to us for the creative and production values they have come to expect as the norm in their own countries. Westeast Films helps erasing the misunderstandings created by cultural differences in work customs.We're in Cannes for co-production and prod services opportunities.

WESTEAST FILM

SRINIVASA SANTHANAM • Festival Director, CISFF • [email protected]

S KANNAN • Chairman, CISF

The Chennai International Short Film Festival is organised by ‘Chennai Academy of Motion Picture’, a non-profi t trust founded by persons with a long track record in promoting good cinema through fi lm festivals and other media. The second edition will be held from 15-21 Feb 2016 with competition for short fi ction, animation and documentaries for a maximum duration of 20 minutes. CISFF’s objective at Cannes is to scout for short fi lms for the festival. Last date for receipt of entries: December 15, 2015.

CHENNAI INTERNATIONAL SHORT FILM FESTIVAL

PAVAN KAUL • Director/Producer• [email protected]

Creation of quality, path breaking and inspirational content for fi lm and television.We are at Cannes Film Market to promote and market our feature fi lm THE ANSWER.

YOGANANDA FILMS




MORE INDIAN COMPANIES AT CANNES

AARUSHI INVESTMENTSVimal AGARWAL

Director

[email protected]

AEON PICTURES INDIASurendra SINGH

Director / Business

[email protected]

B4UIshan SAXENA

Vp Acquisitions

ishan@swordfi shinvestments.com

Chennai International Film Festival

S. Thangaraj

Festival Director

[email protected]

CONSULAT GÉNÉRAL DE FRANCE (INDE)

Reghu DEVARAJ

Attaché Audiovisuel

[email protected]

EMPIRE NETWORKSKavi JUMANI

Managing Partner

[email protected]

GBN SPACESGopakumar Balakrishnan NAIR

Production

[email protected]

KALINGA TVDwiti VIKRAMADITYA

Director

[email protected]

WHITE STRIPES (ENTERTAINMENT DIVISION

OF DIL LTD.)

Yash SHAH

Group Director

[email protected]

YT GROUPYash SHAH

Group Director

[email protected]




Mumbai Academy of the

Moving Image (MAMI)

Anupama Chopra

Festival Director

info@mumbaifi lmfest.com

RECTANGLE MEDIA PVT. LTD.Remy KOHLI

Producer Director

[email protected]

SMILE FILMSJitendra Kumar MISHRA

Producer-Festival Director

smilefi [email protected]

SPLIT IMAGE PICTURES PVT

LTD

Vikram LAMBA

Director

[email protected]

STILL WATERS MEDIA PVT

LTD

Sapna BHATIA

Director

[email protected]

SUCHETA PHULE

PRODUCTION

Phule SUCHETA

Writer / Director

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SWAPNA CINEMAChalasani SESHU

Producer

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VENDHAR MOVIESPravin GANDHI, Director

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FILMS

Indian Films for Sales and Syndication at Cannes Film Market 2015



Indian Films for Sales & Syndication

INDIAN PANORAMA FILMS 2014

OTHELLO

Seventy-two-year-old ex-revolutionary Bankim Bhatta is suffering from Alzheimer’s. Mun drives an autorickshaw named Othello. Bankim tells Mun that he wants to go to jail. He is sent back to the police station where Tina, his tenant and a call girl, meets Mun. Tina starts using Mun’s auto to visit clients. A bond develops between them. A bomb blast at the auto-stand provides the shocking climax of the fi lm.

Director: Hemanta Kumar Das | Producer: Manabendra Adhikary Cast: Arun, Arup Baishya, Bibhuti Bhushan Hazarika, Jupitora Bhuyan

2014 | Assamese | Digital | Colour | 126 min

CHOTODER CHOBI

We are born. We talk. We play. We grow up. We love. We work. We marry. We have babies. We have families. We retire. We die. Even ‘they’ do the same. Still, what we do is normal. What they do? Funny. They are the little people of our society. We call them dwarfs, or even, midgets! This is a simple love story of such a couple, Khoka and Soma. How can a dwarf couple dream of making another family again knowing all the troubles they face?

Director: Kaushik Ganguly | Producer: Shree Venkatesh Films Cast: Dulal Sarkar, Debalina Roy

2014 | Bengali | Digital | Colour | 108 min

PUNASHCHA

Mohona has retired as a professor in Santiniketan. Her only daughter, Parna, studies in Santiniketan’s Vishwa Bharati and lives in a hostel. Mohona’s long-lost ‘friend’ of college days, now a renowned writer, novelist Animesh Mukherjee, has just won an award. A secret meeting between them goes wrong when Animesh dies of a heart attack. The news spreads like wild fi re and Mohona is left to undergo a trial by the society.

Director : Souvik Mitra | Producer: Kalyan Basu (Dreamz Digital Dotcom) | Cast: Soumitra Chatterjee, Roopa Ganguly, Anjana Basu, Sayani Ghosh, Rajat Ganguly, Debarati Chatterjee, Sourav Chatterjee





BODHON

The fi lm tracks the journey of Archi, in his early forties, a highly successful professional working in a MNC, and his wife Ishaani, a lady of mid-thirties, spanning across ten years from their marriage to the present day, shown in fl ashback mode. The story starts on the morning of Mahalaya. A crisis comes unexpectedly when their seven-year-old son Ujaan has a heart attack and the family fi ghts it with all their might over six days. But there is a deeper crisis in Ishaani’s life in the face of an unexpected autism of her adopted daughter Srotoswini.

Director: Ayananshu Banerjee | Producer: Magick Illusion

JODI LOVE DILE NA PRAANE

Jodi Love Dile Na Praane is a fi lm based on a novel. Does love still exist? Each generation feels the succeeding generation doesn’t understand love and the feeling is mutual. Thus the search for the elusive four-letter sensation goes on. This fi lm is a take on different faces of love with all its trappings.

Director: Abhijit Guha and Sudeshna Roy | Producer: Shyam Sundar Dey(Green Touch Entertainment Pvt Ltd) | Cast: Abir Chatterjee, Ananya Chatterjee, Kaushik Ganguly, Kaushik Sen, Arjun Chakraborty


TEENKAHON

Teenkahon is a triptych. It tries to capture the changing face of morality, the degeneration of values, the increasing pollution of the spoken language and the changing social fabric of Bengal through three stories. Spread over a hundred years, the three stories are structured in the manner of the classical Three Act Play with each act (read story) exploring one facet of an obsessive relationship outside the purview of marriage.

Director: Bauddhayan Mukherji | Producer: Monalisa Mukherji (Equinox Films) | Cast: Dhritiman Chaterji, Rituparna Sengupta,

GOUR HARI DASTAAN - THE FREEDOM FILE

Gour Hari Das loves to talk about his adventures as a freedom fi ghter. When he realizes that people laugh behind his back and call him a liar, it hurts but he never craves to prove himself right. Until one day his son seeks admission in an institute and Das is told that a freedom fi ghter’s certifi cate would facilitate an entry. Das has his fi rst brush with bureaucracy when he is told that he cannot obtain a certifi cate from Maharashtra, as he had fought from the state of Orissa. The utter callousness of the offi cials is an eye opener and a new Das is born.

Director: Ananth Narayan Mahadevan | Producer: Siddhivinayak Cinevision




ANKHON DEKHI

The narrative follows fi fty-fi ve-year-old Bauji, the easy-going head of a joint family which houses his strident wife, college-going son, teenage daughter and his younger brother with his wife and two children. When the daughter is found to have an undesirable suitor, the enraged family and onlookers vent their rage on the hapless couple. Something changes in Bauji. He realizes that he has been blind all his life, following other people’s truth. He takes a vow that from now on he would not believe anything that he has not experienced. He would only believe what he sees with his own eyes, since nothing else can be certain.

Director: Rajat Kapoor | Producer: Mithya Talkies

1 DECEMBER

The chief minister’s offi cial visit is a great event, particularly to the poor family specially selected to host his dinner and overnight stay in its humble abode. The extra attention bestowed on the family, in preparation for this visit, gives it a feeling of elevated status and brighter future. The visit is a great success with photo-shoots, interaction with press and local leaders, dinner and wide media coverage. But the family itself is neglected, faces embarrassments and gets a raw deal, driving it to despair.

Director: P. Sheshadri | Producer: Basantkumar Patil (Basant Productions) | Cast: Nivedita, Santosh Uppina, Shanthabai Joshi,

RI

Stuck between his ideology and his conscience, Manbha, the protagonist, goes through a maze of emotions and questions, which forces him to take a life-changing decision. Like many youths of the state, Manbha joins a terror outfi t. He sees the hatred, anger, squalor and is left disillusioned. Manbha is injured and manages to hide in a house. The lady of the house Emika is a single mother and is a victim of terror herself. What starts is a soul searching evening for Manbha.

Director: Pradip Kurbah | Producer: Kurbah Films | Cast: Merlvin Mukhim, Elgiva Shullai, Albert Mawrie, Anvil Laloo

2013 | Khasi | Digital | Colour | 117 min

1983

This is the story of three generations of a family between two world cup wins of India, 1983 and 2011. Gopi Ashan had high hopes for his son, Rameshan. Though full of potential as a child, all he could do was to end up as an amateur tennis ball cricket player. After his marriage he gets a new purpose in his life: to make his son the professional cricket player that he could not become. Told in the backdrop of village cricket in light humour, the movie deals with the journey of Rameshan and the problems he has to face and conquer to reach his goal.

Director: Abrid Shine | Producer: T R Shamsudheen | Cast: Nivin Pauly, Anoop Menon, Jacob Gregory, Joy Mathew, Saiju Kurup




NORTH 24 KAADHAM

Hari, a young IT professional, has an Obsessive Compulsive Disorder (OCD). On an accidental road trip with an old man and a young female NGO worker he chances to meet, he comes to terms with his obsessions and realizes that there is more to life than his paranoid notions.

Director: Anil Radhakrishnan Menon | Producer: Mukesh R. Mehta (Surya Cine Arts) | Cast: Fahadh Faasil, Nedumudi Venu, Swati Reddy

2013 | Digital | Colour | 126 min

NJAN STEVE LOPEZ

Steve Lopez, a typical teenager, is the son of an infl uential police offi cer. He happens to witness a fi ght between two rival gangs and is involved in taking a fatally injured man to the hospital. This leads him into the lives of the gangsters. Hari, the gang leader, is captured by his father with his help, but he disappears from police custody. In his quest to fi nd what happened to Hari, he gradually comes to realize that the gangsters and the police are two faces of the same coin.

Director: Rajeev Ravi | Producer: Alan McAlex Cast: Farhaan Faasil, Ahaana Krishna, Alancier, Anil Nedumangad

2014 | Malayalam | Digital | Colour | 116 min

DRISHYAM

George Kutty is a cable TV network owner in a remote and hilly village in Kerala. He lives a happy life with his wife, Rani, and two girls. Anju, his daughter, goes to a school trip. A guy who had been at the school trip with her meets Anju and blackmails her with a video of her that he had captured during the trip. In the course of events he is accidentally killed by Rani and Anju. This begins a cat and mouse game as the murdered person is the son of IG Geeta Prabhakar.

Director: Jeethu Joseph | Producer: M.J. Antony (Aashirvad Cinemas) | Cast: Mohan Lal, Siddique, Shajon, Irshad, Kunjan

2014 | Malayalam | Colour | 164 min

MUNNARIYIPPU

Can you force someone to ‘reveal’ him/herself? The fi lm probes into the confl icts that arise out of the desire for and the limits of communication between human beings. Raghavan has been convicted of double homicide and is undergoing life imprisonment. Anjali is an ambitious journalist who wants to prove her worth, probing into and narrating other people’s lives. Their meeting forces him to come out – fi rst from the jail in which he has cocooned himself for two decades, and later, from his silence.

Director: Venu | Producer: Ranjith, P.M. Sasidharan (Gold Coin Motion Picture Company) | Cast: Mammooty, Nedumudi Venu,




SWAPAANAM

Unequalled in playing the chenda, Unni, and Nalini, peerless in Mohiniyattam, are drawn to each other. Their passion cannot hold up against the tumults of Unni’s life. A brother and a father fi gure, whose love sours to jealousy and hate, a wife who despises his drumming and a mother from whom the truth about his birth is not forthcoming all hasten the tempo to an inevitable dark end.

Director: Shaji N. Karun | Producer: Horizon Entertainment | Cast: Jayaram, Kadambari, Vineethi, Siddique, Ashwini Ranga, Lakshmi Gopalaswamy

2013 | Malayalam | Digital | Colour | 152 min

NJAAN

The story revolves around the discovery of a forgotten nationalist, K.T.N. Kottoor, by young writer Ravi Chandrasekharan. Ravi’s journey takes him to a pre-independent India, and also to the suburb of Kottoor in the erstwhile Malabar of the Madras Presidency. While tracing the life of the central character, Ravi also travels through the changing socio-political scenario of a country in its quest for independence.

Director: Ranjith | Producer: Ranjith, P.M. Sasidharan (Gold Coin Motion Picture Company) | Cast: Dulquer Salmaan, Renji Panicker, Joy Mathew, Suresh Krishna, Saiju Kurup, Harish Perady

EK HAZARACHI NOTE

This is the story of Parobudhi, a poor old woman living in a remote village of the Vidarbha region of Maharashtra. A local politician comes canvassing for votes. He is distributing money to the villagers. Someone points out Budhi to him as that unfortunate woman whose young farmer son has committed suicide. The politician presses a few thousand-rupee notes in Budhi’s hands. But fate has something else in store for them. The local policeman hauls them up. Will the duo survive what follows? Will they be able to safely return to their homes?

Director: Shrihari Sathe | Producer: Shrihari Sathe (Infi nitum Productions Private Limited) | Cast: Usha Naik, Sandeep Pathak,

ELIZABETH EKADASHI

With an international sensibility but impregnated with Marathi folklores and ‘saint culture’, Elizabeth Ekadashi is a unique offering. At the core of the fi lm are basic human emotions of mother and child and a child’s struggle to help his struggling single mother fi nancially. Though the theme is universal, the presentation is such that it is very close to the Marathi soil. Set against the backdrop of Pandharpur, the fi lm explores children’s scientifi c curiosity vis-à-vis the spiritual teachings of the land.

Director: Paresh Mokashi | Producer: Essel Vision ProductionsCast: Shriranga Mahajan, Saili Bhandarkavthekar, Pushkar Lonarkar, Nandita Dhuri, Vanmala Kinikar

2014 | Marathi | Digital | Colour | 90 min




KILLA

Coping with the recent death of his father, eleven-year-old Chinu moves to a small Konkan town from a big city. He fi nds it diffi cult to adjust to the new place and fi nds himself alienated and reluctant to open up to its people. Both Chinu and his mother grapple with their own individual struggles and anxieties in the new town. In the process, they emerge with newer experiences and as newer people, both healed and enriched.

Director: Avinash Arun | Producer: Alan McAlex Cast: Amruta Subhash, Archit Devadhar, Parth Bhalerao, Gaurish Gawade, Swanand Raikar, Atharva Upasni

DR. PRAKASH BABA AMTE – THE REAL HERO

This is a story showcasing an individual who was unaware of his destination but became an inspiration to the world. After he had fi nished his doctor’s degree, Prakash’s father Baba Amte took him on a picnic to Hemalkasa. The picnic became a turning point in Prakash’s life. On the one hand people had reached the moon while here people were living as animals. Prakash went there just to treat them but became a part of them. Prakash marries Mandakini, who accompanies Prakash without any condition. This is where the real story begins in the dense forest of Hemalkasa. Today, after forty-fi ve years of struggle, Hemalkasa has become an example to the world.

Director: Samruoddhi Porey | Producer: Samruoddhi Porey

YELLOW

Gauri is born with Down’s Syndrome. Her dad fails to accept the fact that his daughter is not like others and disowns her. Gauri's mom, Mughdha, determined to raise her daughter and make sure she gets dignity, relocates to her brother Shridhar's place. Shridhar, a god-fearing simpleton, is the source of positive energy in Mughdha and Gauri’s life.

Director: Mahesh Limyae | Producer: Uttung Hitendra ThakurCast: Mrinal Kulkarni, Upendra Limaye, Hrishikesh Joshi, Gauri Gadgil, Manoj Joshi, Snjana Rai

2013 | Marathi | Digital | Colour | 130 min

LOKMANYA – EK YUGPURUSH

The fi lm encompasses the journey of a young boy from his early days to becoming the legend, Lokmanya, thus inspiring generations to come. It discovers the ideals and vision of the great freedom fi ghter, comments on the socio-political situation of today’s India and how it can be improved using his messages that were delivered over a century ago, unravelling the legend.

Director: Om Raut | Producer: Neena Raut Entertainment Pvt. LtdCast: Subodh Bhave, Sameer Vidhvans, Angad Mhaskar, Chinmay Mandlekar

2014 | Marathi | Colour | 139 min




Indian Panorama section at IFFI Goa showcasesthe best of fi lms from across India

A RAINY DAY

Aniket is an achiever who wants to get rich quick and resorts to any means for that. His wife Mugdha doesn’t approve of his deeds. When life seems to be fi ne he discovers that she’s got wind of his past. He wonders how she knows and gradually this phenomenon starts repeating itself. She tells him what he did on various occasions. She is pregnant and he wonders if this condition has to do with her extra sensitivity. He is intrigued, irritated and on the way to becoming a neurotic wreck. Mugdha fi nally takes a strong decision about her life.

Director: Rajendra Talak | Producer: Priyanka Bidaye Talak Cast: Mrinal Kulkarni, Subodh Bhave, Ajinkya Deo, Harsh Chhaya, Sulabha Arya

2013 | Marathi | 35 mm | Colour | 89 min

ADIM VICHAR

Aadim Vichar is a tale of ancient tradition and human values that stand above all. This is a story of the Kandha tribe settled in the plains of Odisha, India. Their life is a melody full of songs and dance, they lead a community life and believe in peaceful existence. But when their settlement moves into the plains, they come in contact with other people. Among them exist half-educated, selfi sh touts, who for their own motives shatter the peaceful tribe.

Director: Sabyasachi Mohapatra | Producer: Susant MohapatraCast: Atal Bihari Panda, Tapaswini Guru, Purushottam, Lochani Bag,

KUTTRAM KADITHAL

This story, playing over twenty-four hours in the life of a couple, deals with a young teacher who marries against the wish of her family and tries to start a new life with her beloved engineer husband. The inter-religion wedding escalates into a huge issue as she is chased by the police, the media, and a bunch of social activists and she runs away from the city and becomes the most wanted all over the state.

Director: Bramma G | Producer: J. Satish Kumar (JSK Film Corporation) | Cast: Master Ajay, Radikha Prasiddha, Sai Rajkumar, Pavel Navageethan

2014 | Tamil | Digital | Colour | 120 min




EKTHABHUJANG

'EkthaBhujang' is a story of a 10 year old boy wanting to play the role of Lord Krishna... the hindu GOD in a school drama... the only thing stopping him to do so... is the fact that he is a muslim boy.

Genre: Live Action Children Feature Film | Director: Mohinder Pratap Singh | Email: [email protected]

PAPPU KI PUGDANDI

When young Pappu meets a genie,he thinks all his problems will be taken care of but the genie had had other plans for him which make Pappu realize that there are no shortcuts to happiness and he identifi es his own strength.

Genre: Children’s Feature | Director: Seemaa Desai | Email: [email protected]

CFSI Films

GATTU

In a small town in central India, kids and adults are equally obsessed with kite-fl ying. The airspace is dominated by a black kite called Kali with mysterious origins. A street kid Gattu, dreams of defeating Kali but fails. He discovers that the local school has a roof which will give him a vantage point. Impersonating as a student he sneaks into the school and must now pretend to study. The only problem -- he is illiterate!

Genre: Live Action Fiction | Director: Rajan Khosa Email: [email protected]

GOOPI GAWAIYA BAGHA BAJAIYA

They sing and play together to celebrate their newfound friendship only to be surrounded by melancholic ghosts who they manage to enchant with their peculiar musical talent. As a gift, they acquire four boons from the king of ghosts, using these they can always be well fed, transport themselves anywhere in an instant and mesmerize anyone with their music, albeit only together and in ‘jugalbandi’. One boon is still owed to them, this would be granted by the ghost king when they need to use it. And thus begins the extraordinary adventure of Goopi&Bagha

Director: Shilpa Ranade | Email: [email protected]




FILMS FROM NATIONAL FILM DEVELOPMENT CORPORATION

FOUR COLOURS (CHAURANGA)

A fourteen year old dalit (lower caste) boy is growing up in an unnamed corner of India. His dream is to go to a town school like his elder brother and his reality is to look after the pig that his family owns. His only escape is to sit a top a tree and adore his beloved passing by on her scooter. His unspoken love is as true as his mother’s helplessness who cleans the cowsheds of the local strongman’s mansion, with whom she also has a secret liaison. When the boy’s elder brother comes on a vacation to the village, he soon fi nds out about his younger brother’s infatuation. The learned elder brother makes him realize the need to express his love and helps him write a love letter. Will things remain the same in the village after this love letter is delivered? Especially when the girl is the village strongman’s daughter? Inspired by a true event, Chauranga (Four Colours) is a fi ctional account of six days in a dark corner of India. A story of the violence of class oppression that still exists in Rural India.

Director and Writer: Bikas Ranjan Mishra Production Company: Anti Clock FilmsCo-Production - NFDC

FIG FRUIT AND THE WASPS (ATTIHANNU MATTU KANAJA)

Gouri, a documentary fi lmmaker, takes a journey along with her friend Vittal. She is trying to collect material for her documentary project on instrumental music, and instruments used in some parts of south India. They go to a village with the help of Basanna, a school teacher. They travel to meet an instrumental musician, who has gone some place elsewhere to give a performance. Both are forced to stay in the village till the musician returns. The fi lm tries to capture the human attitude when they are placed in a condition/situation/environment which is familiar and at the same time unfamiliar. As the seemingly simple yet complex situations develop, how these characters fi t in to a landscape and climate as much mental as physical. Some time “vision” isn’t what is visible, sound isn’t exactly what is heard.

Director and Writer: M S Prakash BabuProduction Company: NFDC




MAJHI THE MOUNTAIN MAN (MAJHI THE MOUNTAIN MAN)

Dashrath Manjhi is famously known in India as “the Man who broke a mountain for love”. The fi lm “Majhi - the Mountain man” is a true story about that legendry man- a story, so true that it is “stranger than fi ction”. Dashrath Manjhi was a poorest of the poor man from the lowest of the low castes, living in a tiny village in the poor state of Bihar. A great big mountain separated this village from the rest of the world. Manjhi, loved his wife beyond belief. One day, as his pregnant wife carried his mid day meal across the mountain to him, she fell down from the mountain and died. Shocked and angry, Majhi swore to break the mountain and make a path so that no one else would ever suffer her fate. With just a hammer and a chisel he started what was perceived as an impossible task.

Director: Ketan Mehta | Writer(s): Ketan Mehta, Mahender Jhakkar Production Company: Maya Movies Pvt LtdCo-Production - NFDC

Cannesnes FiFilmlm MarMarketket 141

SUNRISE (ARUNODAY)

Inspector Joshi is a grieving father searching for his daughter Aruna, kidnapped years ago when she was six. In his despair, life converges with a recurring dream in which Joshi pursues a shadowy fi gure who leads him to ‘Paradise’, a night-club where teenage girls dance to a leering crowd. He is convinced he will fi nd Aruna there and vows to bring her back to Leela, his broken wife.

Director: Partho Sen-Gupta Production Companies: Independent Movies Ltd (IN), NFDC (IN), Dolce Vita Films (FR) Infi nitum Productions (IN), Aryasaa Cine productions (IN)

QISSA

Set in post-colonial India, QISSA tells the story of Umber Singh, a Sikh, who is forced to fl ee his village due to ethnic cleansing at the time of partition in 1947. Umber decides to fi ght fate and builds a new home for his family. When Umber marries his youngest child Kanwar to Neeli, a girl of lower caste, the family is faced with the truth of their identities; where individual ambitions and destinies collide in a struggle with eternity. PRODUCTION COMPANY - HEIMATFILM (Germany)

CO-PRODUCTION COMPANIES - NFDC (India), AUGUSTUS FILM (NETHERLANDS), CINE-SUD PROMOTION (FRANCE)

Director: Anup Singh




MARKET SCREENINGS FROM INDIA

BAAHUBALI

A mother chooses an adopted nephew over her own son to be the new King. The young King spurns the throne for love. But treachery and betrayal lead to his vile murder leaving behind an ostracised wife. Their rescued infant child raised by tribals returns to avenge his parents.

Director: Rajamouli Sri Sailasri | Producer: Prasad Devineki (Arka Mediaworks), Shobu Yarlagadda (Arka Mediaworks)Cast: Prabhas Uppalapati, Rana Daggubati , Tamannaah Bhatia, Anushka Shetty | International Sales: [email protected]

Tamil, Hindi - Epic, Drama - 145 Minutes

KULDIP PATWAL: I DIDN'T DO IT!

A common man, Kuldip Patwal, has been wronged by the local minister all his life. Now – according to reports – he has, allegedly, killed the Chief Minister in broad daylight in front of tens of eyewitnesses. He says he didn’t do it. But, the State will make sure he gets the capital punishment.

Director: Remy Kohli | International Sales: [email protected] | Rectangle Media Pvt Ltd

Hindi, English - Drama, Thriller, 135 Minutes

UMRIKA

When Udai bhai abandons his native Jitvapur for a bigger and better life in the United States of Umrika, young Ramkant must follow in his footsteps to fi nd out what truly happened to his brother.

Director: Prashant Nair | Producer: Swati Shetty (Samosa Stories Entertainment Pvt. Ltd.), Manish MundraCast: Suraj Sharma, Tony Revolori, Smita Tambe, Adil Hussain, Rajesh Tailang, Amit Sial, Pramod Pathak, Prateik Babbar | International Sales: manish@drishyamfi lms.com

Hindi - Drama, Comedy - 100 Minutes

THURSDAY, MAY 14

Palais K 16:00hrs

Palais I 16:00hrs

Palais K 20:30hrs




BOMBAY VELVET

Set against the jazz age of Mumbai, the story spans a period from the late 1940’s through to the 1970’s Bombay Velvet is the story of the rise and fall of one boy Balraj who transforms into Karan, a gangster in Mumbai post Independence and on the verge of becoming a metropolisThe story of the rise and fall of one boy Balraj who transforms into Karan, a gangster in Mumbai post Independence and on the verge of becoming a metropolis. Set against the jazz age of Mumbai, the story spans a period from the late 1940’s through to the 1970’s when the fi rst skyscrapers started to be built. It is also his love story with Rosie, a jazz singer from Goa. Jazz clubs, bare-knuckled boxing, a growing city, gangsters fi ghting for a piece of the pie; welcome to Bombay Velvet

Director: Anurag Kashyap | Producer: Fox Star Studios And Phantom Pictures | Cast: Ranbir Kapoor, Anushka Sharma, Karan Johar | International Sales: [email protected]; [email protected]

Hindi - Drama - 212 Minutes

FRIDAY, MAY 15

Palais F 09:30hrs

CROW'S EGG (KAAKAA MUTTAI)

When a pizza parlor opens on their old playground, two carefree slum boys are consumed by the desire to taste this new-fangled dish called ‘pizza’. Realizing that one pizza costs more than their family’s monthly income, they begin to plot ways to earn more money – inadvertently beginning an adventure that will involve the entire city.

Director: M Manikandan | International Sales: [email protected]; [email protected]

Completed - Tamil - Children's, Family, Drama - 99 Minutes

Palais B 11:30hrs

Palais I 18:00hrs

FEAST OF VARANASI

Helen crosses paths with Nana in the forest where he lives next to an old cremation site. Nana senses her guilt and helps Helen free herself from her pain of her mother’s suicide. Arjun Das, a CBI offi cer from New Delhi is sent to Varanasi to fi nd the killer. For Arjun it’s a return to his home and a city he left behind. As the Hindu festival of fi re and colour ‘Holi’ approaches Kasi prepares to claim the greatest sacrifi ce, Helen, and seeks deliverance from Nana, who must prove he is a true aghori, detached from everything.Feast of Varanasi is a taut thriller, which matches a sense of place and narrative to deliver an original and beauty fi lm unlike any other made in India.

Director: Rajan Kumar Patel | Producer: Rajan Kumar Patel (Raafi lms), Ketal Patel (Dreamit Filmit ), Caroline Oreilly (Raafi lms)Cast: Adil Hussain, Tannishtha Chatterjee, Holly Gilbert, Judi Bowker, Ashwath Bhatt | International Sales: rajan@raafi lms.co.uk

Post-Production - Hindi - Drama - 113 Minutes




ROAR: TIGERS OF THE SUNDARBANS

A thrilling, action adventure, where Uday, a photojournalist rescues a white tiger cub caught in a poacher’s trap. He brings the cub to a local village, causing the villagers to panic until the forest warden takes the cub away. The cub’s mother, a white Tigress, enters the village at night and when she can’t fi nd her lost cub, she unleashes her wrath on Uday and disappears with his dead body. Uday’s brother puts together a crack commando team and a local tracker on a do-or-die mission to recover his brother’s body and kill the white Tigress. The team's quest leads them deep into the dangerous Sundarbans. An exciting hunt ensues, as the white Tigress not only eludes them every time but also manipulates them into her territory. Adding to their predicament, a villainous poacher schemes a plan to use the remaining group as bait to trap the white Tigress for himself. One after another, the hunters become the hunted.

International Sales: roxane@ffi mail.com; Fantastic Films International

Completed - Hindi, English - Action/Adventure - 123 Minutes

UMRIKA

PALAIS H 09:30hrs

International Sales: roxane@ffi mail.com; Fantastic Films International


RIVIERA 4 11:00hrs

International Sales: [email protected] | Rectangle Media Pvt Ltd

LERINS 1 17:30hrs

SATURDAY, MAY 16

GRAY 5 12:00hrs

KAJARYA

An Indian village just 80km from the capital city - New Delhi where there is no place for a girl child. Kajarya is a feature fi lm that has been making waves internationally and deals with the pertinent topic of girl child infanticide & violence against women in India.It is a thriller that pans across the city and village tells the story of two women who collide in a so called developed world where baby girls better be dead

Director: Madhureeta Anand | Producer: Tilak Sarkar (Starfi re Movies), Q Celine Loop (Overdose Joint), Madhureeta Anand (Ekaa Films)Cast: Meenu Hooda, Ridhima Sud, Kuldip Ruhil | International Sales: [email protected]

Hindi - Social Issues, Crime, Bollywood - 108 Minutes




BOMBAY VELVET

PALAIS F 17:30hrs

International Sales: [email protected]; [email protected]

GRAY 5 14:00hrs

GRAY 5 18:00hrs

BEYOND BLUE - AN UNNERVING TALE OF A DEMENTED MIND

Beyond Blue is an unnerving tale of Manas's demented mind. An unknown crime fantasy fi lm which revolves around a man's mysterious and miserable wonderland.Log LineBeyond Blue is an unnerving tale of Manas's demented mind. An unknown crime fantasy fi lm which revolves around a man's mysterious and miserable wonderland.

Director: Rajsingh Zanane | Producer: Rajesh Acharya (Nanoland Ltd.), Omkar Acharya (Nanoland Ltd.) | Cast: Tushar Pandey, Isheta Sarckar, Dipti Joshi, Ashish Kakkad, Vikas Rathod | International Sales: [email protected]

Hindi - Crime, Fantasy - 99 Minutes

FIREFLIES

A tragic incident from their childhood has colored the relationship of two estranged brothers and their journey to fi nd true love.Firefl ies is the story of two estranged brothers, Shiv and Rana. Living disparate lives, sometimes illuminated by unexpected intimacies and new found hope, the brothers still remain shackled to the darkness of their past. Haunting memories of a tragic incident must be resolved before they can be brothers again.

Director: Sabal Singh Shekhawat | Producer: Sabal Singh Shekhawat | Cast: Rahul Khanna, Arjun Mathur, Shivani Ghai, Monica Dogra | International Sales: [email protected]

English - Family, Drama - 103 Minutes




SUNDAY, MAY 17

MONDAY, MAY 18

SUNRISE (ARUNODAY)

When a new series of child abductions come up, a detective haunted by the disappearance of his daughter ten years before must race against the clock to save the girls and redeem his soul.

Director: Partho Sen -Gupta | Producer: Marc Irmer (Dolce Vita Films), Partho Sen-Gupta (Independent Movies), Rakesh Mehra (Independent Movies), Ninah Lath Gupta (Nfdc)Cast: Adil Hussein, Tannishta Chatterjee, Ashalata Wabgaonkar | International Sales: [email protected]

Marathi - Crime, Drama, Thriller - 82 Minutes

GOATSPEAK (KHASHI KATHA)

Story about the Journey of a 22 year old girl through Kinship, Friendship, Failure & Success. The freewheeling passion of youth and the unpredictable perils of fate are both the subject and the breathtaking form of 22 year old Salma’s journey through kinship, friendship, love, failure, and success in the boxing ring.

Director: Judhajit Sarkar | Producer: Tilak Sarkar (Starfi re Movies) | Cast: Naseeruddin Shah | International Sales: smilefi [email protected]

Bengali - Drama - 108 Minutes

GRAY 4 11:30hrs

GRAY 5 14:00hrs

BAAHUBALI

PALAIS J 17:30hrs

International Sales: [email protected]




COUP DE GRACE (KRANTIDHARA)

A positive story of uplifting the society through women empowerment. It depicts the struggle of a woman with her political career and has to face the male chauvinist society. This story takes place with the backdrop of reservation of seats for women in the 3 tier system of administration in India.

Director: Himanshu Khatua | Producer: Iti Samanta (Kadambini Media Pvt Ltd) | Cast: Gargi Mohanty, Samresh Routray, Priya Mishra, Bijaylaxmi Praharaj, Kuresh Mistry, Bhakta Pattanaik | International Sales: [email protected]

Oriya - Documentary, Social Issues - 106 Minutes

THE JOURNEY TO HER SMILE

Debutante woman director exploring the very current and relevant issue of child safety in her movie THE JOURNEY TO HER SMILE. The rise in cases of child abuse and rape in India and worldwide forms the premise and also lends a dark reality to this moving yet gritty tale of Revati. Revati is essentially today's mother, juggling with her career and family. Her world shatters when her fi ve year old daughter is brutally raped. A woman brimming with life, now she is caught in a traumatic labyrinth of despair and disconnects from the world around her. The deep undercurrents of this barbaric act, the impact on the family and if at all she can get back her life, form the plot of this intriguing fi lm.

Director: Sucheta Phule | Producer: Amit Hundekari | Cast: Aastad Kale, Girija Oak, Anahita H

English, Marathi - First Film, Drama - 70 Minutes

PALAIS E 18:30hrs

GRAY 5 18:00hrs

BOMBAY VELVET

PALAIS I 18:00hrs

International Sales: [email protected]; [email protected]




TUESDAY, MAY 19 THE ANSWER

‘The Answer’ tells the powerful true story of an American, James Donald Walters. The fi lm portrays his youthful quest for truth, which took him from his birthplace in Romania, to Switzerland and England, as far as the United States, where in 1948 in Hollywood, California he has the extraordinary meeting with Paramhansa Yogananda, the great Indian Master, author of ‘Autobiography of a Yogi’. Young Donald - later Swami Kriyananda - is immediately accepted as disciple and so his amazing spiritual journey begins.

Director: Pavan Kaul | Producer: Kaveeta Oberoi Kaul (Yogananda Films / Kriya Movies) | Cast: Victor Banerji, Leonidas Gulaptis | International Sales: [email protected]

English - Drama, Historical - 108 Minutes

MARDAANI (FEARLESS)

Shivani Shivaji Roy is an astute cop working in a Mumbai Crime Branch unit. Deft at picking up hidden clues and fearless in confronting hardened criminals, Shivani stumbles on a case that will change her life forever.A teenage girl is kidnapped by the child traffi cking mafi a and smuggled outside the city. Shivani embarks on an obsessive hunt for the girl and what follows is a cat and mouse game between a fearless cop and a ruthless mafi a kingpin.

Director: Pradeep Sarkar | Producer: Aditya Chopra (Yash Raj Films) | Cast: Rani Mukerji | International Sales: avtar@yashrajfi lms.com

Hindi - Drama - 113 Minutes

PALAIS C 10:00hrs

PALAIS J 15:30hrs

THE ANSWER

PALAIS C 14:00hrs

International Sales: [email protected]




WEDNESDAY, MAY 20

CALCUTTA DETECTIVE (DETECTIVE BYOMKESH BAKSHY!)

In a contemporary interpretation of war torn Calcutta during the 1940’s, the fi lm follows the fi rst adventure of Byomkesh, fresh out of college, as he pits himself against an evil genius who is out to destroy the world. It’s his wits against the most villainous arch criminal the world has seen, in a world of murder, international political intrigue and seduction.This is the fi rst in a series that will feature Bengali bestseller writer Saradindu Banerjee's most famous creation and India's widest read and best known detective character for the fi rst time in a Hindi feature.

Director: Dibakar Banerjee | Cast: Sushant Singh Rajput | International Sales: avtar@yashrajfi lms.com

Hindi - Action/Adventure - 140 Minutes

MY BIG FAT BRIDE (DUM LAGA KE HAISHA)

The story revolves around the life of a small town couple. From overcoming his fear of the English language to dealing with an overbearing father, Prem discovers that his oversized wife, Sandhya, who he thought was a spanner in his business and life, will actually lead him to something cool.

Director: Sharat Katariya | Producer: Maneesh Sharma (Yash Raj Films) | Cast: Ayushmann Khurrana, Bhumi Pednekar | International Sales: avtar@yashrajfi lms.com


PALAIS J 17:30hrs

PALAIS H 11:30hrs


PALAIS I 09:30hrs

International Sales: [email protected] | Rectangle Media Pvt Ltd

THE ANSWER

PALAIS C 10:00

International Sales: avtar@yashrajfi lms.com




THE ANSWER

PALAIS C 14:00

International Sales: avtar@yashrajfi lms.com

PIKU

Piku (Deepika Padukone) juggles her life as a successful architect and being a single parent to her 70-year old father Bhashkor Banerji (Amitabh Bachchan). Getting a life of her own, just doesn’t seem possible – not for the lack of trying but she’s weighed down by the responsibilities of her work, home and a hypochondriac father. While both are deeply attached with one another, they are equally strong headed, stubborn and just won’t let go when dealing with each other’s idiosyncrasies and quirks!When Bhashkor emotionally blackmails Piku to take a road trip from Delhi to native Calcutta, the owner of the local cab company Rana (Irrfan Khan) has no choice but to drive them personally since none of his drivers are willing to endure Piku or her eccentric father. During this crazy road trip they learn to deal with each other’s moods and idiosyncrasies and it reveals more than Bhashkor’s bathroom habits.Piku is a heart warming slice of life fi lm about a father daughter relationship where Bhaskor’s irritating yet endearing demeanor and Piku’s equally headstrong nature may always be at loggerheads but this seemingly dysfunctional relationship is bonded by an understated and an unconditional love that leaves you wanting more.

Director: Shoojit Sircar | Producer: Ronnie Lahiri | Cast: Amitabh Bachchan, Deepika Padukone, Irrfan Khan | International Sales: avtar@yashrajfi lms.com


PALAIS H 15:30hrs

Log on to www.indiaatcannes.com

for more fi lm listings


FILMING IN INDIA

India_Film_Guide_2015_Inner_Pages_149-252.indd 151India_Film_Guide_2015_Inner_Pages_149-252.indd 151 13-05-2015 12:54:0413-05-2015 12:54:04

Filming in India


India is the most dramatic shooting location in the world: snowy mountains, pristine islands, plunging ravines, dusty plains--imagine the earth and get it. Here are the top Indian locales.

SHOOTINGLOCALES IN INDIA


Filming in India


French fi lm Dheepan, parts of which have been shot in Tamil Nadu, India will vie for the coveted Palm D'Or prize in the Competition Section of the 68th Cannes International Film Festival. India's 'Wide Angle Creations', led by Suresh Balaje and George Pius collaborated with the Paris-based company 'Why Not Productions' to shoot the Jacques Audiard-directed fi lm in India.

Portions of French fi lm Les Cowboys directed by Thomas Bidegain and Produced by Les Productions du Trésor was shot in Rajasthan, India. Les Cowboys will be screened in the Directors’ Fortnight sidebar of the Cannes Film Festival 2015


Filming in India


Foreign Films Shot in IndiaOver 100 foreign fi lms were given permission to

shoot in India by the Ministry of Information and

Broadcasting in the last three years

2014THE AMAZING TRIP TO

INDIA

CHINA

BOLLYWOOD DREAMS

ISRAEL

HAJI BACKPACKER

INDONESIA

DHAKAR CHELE KOLKATA

MEAY

BANGLADESH

IN HIGH PLACES

UNITED KINGDOM

THE MAN WHO KNEW

INFINITY

UNITED KINGDOM

BEYOND THE KNOWN

WORLD

NEW ZEALAND

THE AMAZING RACE

CHINA

CHINA

LION

AUSTRALIA

SENSE 8

UNITED KINGDOM

PIXELS

CALIFORNIA

GATEWAY TO HEAVEN

CHINA

ALONE

FRANCE

POINT BREAK

GERMANY

HOMELAND SEASON-4

CALIFORNIA

PORNU DAIGHO PREM

KAHANI-2

BANGLADESH

LONDON HAS FALLEN

UNITED KINGDOM

ROMEO VS JULIET

BANGLADESH

MASAAN

FRANCE

UN PLUS UNE

FRANCE

COW BOYS

FRANCE

HAMSAFAR KHORSHID

IRAN (UAE)

DHEEPAN

FRANCE

BLACK DIAMOND

FRANCE

DEV BHOOMI

SERBIA

2013INTERPRETER OF

MALLDIES

NEW YORK, USA

DR. CABBIE

CANADA

I ORIGINS

NEW YORK, USA

VICEROY’S HOUSE

UNITED KINGDOM

NIGHT FALLS IN INDIA MADRID, SPAIN

BASMATI BLUES

USA

TEEN TAAL

UNITED KINGDOM

VICENTE FERRER

SPAIN

BABY SELLERS

NORTH VANCOUVER (BRITISH COLUMBIA)

SHARBAT

NEW YORK, USA

A NEW LIFE

GERMANY

MILLION DOLLAR ARM

CALIFORNIA, USA

BIYER PHANDE

DHAKA, BANGLADESH


Filming in India


ARUNODAY

FRENCH

THE HUNDRED FOOT

JOURNEY

UNITED KINGDOM

THE OTHER SIDE OF THE

DOOR

UNITED KINGDOM

SIX SUSPECTS

UNITED KINGDOM

BEST CHANCE

GERMANY

MUMBAI LOVE

PHILIPPINES

THE COOK

GERMANY

THE SECOND BEST

EXOTIC MARIGOLD HOTEL

UNITED KINGDOM

VAGATOR MIXER

USA

AFRAID

USA

TRACES OF SANDALWOOD

SPAIN

THRONGDRONG

CANADA

ME & YOU VS THE WORLD

INDONESIA

EVEREST

UNITED KINGDOM

PARCHED

USA

IRYU (MEDICAL DRAGON)JAPAN

FLIPOUT

UNITED KINGDOM

UTOPIA

UNITED KINGDOM

KABULY PATHAN

AFGHANISTAN

JET TRASH

UNITED KINGDOM

Basmati Blues, USA

London Has Fallen, UK

The Man Who Knew Infi nity, UK

Million

Dollar Arm,

California, USA

I Origins, New York, USA

The Second Best Exotic Marigold Hotel, UK


Filming in India


WHAT SHOULD ACCOMPANY YOUR

APPLICATION?

You need to send us a simple letter,

telling us of your intention to shoot in

India, mentioning the dates of shooting,

particulars of the cast and crew, and your

chosen locations. Please address your

letter to the relevant address a month

before your planned shooting schedule,

and enclose four copies of the fi nal,

detailed shooting script, a draft/cheque

for US$ 200 drawn in favour of Pay&

Accounts Offi cer, Ministry of I&B, (MS),

New Delhi (that is a fee for scrutiny of the

script), detailed shooting locations and

particulars regarding the cast and crew

coming to India. No fee is required for

shooting documentaries in India.

Should you wish to bring your own shooting

equipment, please send us a list of the

equipment to be temporarily imported. This

will enable us to make a recommendation

to the customs authorities to exempt the

temporary import from customs duty.

Your permission to shoot will normally not

take more than three weeks to process.

The permission letter issued by the

Government of India will facilitate your

permission from other local authorities,

which may, in some cases, need to be

obtained directly from these authorities.

In case any living personality is portrayed

in the fi lm as a Character, we suggest that

you share the script with that personality

or his/her legal heirs, before beginning the

shooting, and obtain a ’No Objection Letter’.

This letter will expedite the clearance of

your application, and also guard against the

possibility of any defamation or libel suits.

If you propose to shoot your fi lm as a

Co-Production, a copy of the agreement

between your company and the Indian

party indicating the role of each party,

its responsibilities and liabilities, must

accompany the application.

Shooting GuideHere is the complete checklist provided by the

Ministry of Information and Broadcasting on obtaining

permission to shoot a feature fi lm in India. It is

advisable to engage a (good) production service com-

pany to help you manage your project.


Filming in India


If your fi lm requires shooting in the scenic

but sensitive areas of Jammu & Kashmir,

North Eastern India or border belts, your

application will be considered for specifi c

approval in consultation with the Ministry

of Home Affairs. In such cases, you would

need to allow more time to process your

application.

WHAT WILL THE INDIAN MISSION

IN YOUR COUNTRY DO FOR YOU

Do submit the detailed particulars of all

the members of the shooting team to the

Indian Mission in the country from which

they would be departing for India at the

time, indicating your intention to shoot in

India. Our mission will issue them visas in

the normal course.

OTHER THINGS THAT YOU MAY WANT

TO KNOW

An expert from a panel constituted by us

for this purpose will scrutinize your script.

If considered necessary, to facilitate the

shooting, a liaison offi cer may be attached

to a fi lm shooting team. This offi cer will help

you to get local clearances, and provide an

interface with any local institutions. Where

a liaison offi cer is so attached to the

shooting team, the Government of India

will bear his expenses. In exceptional

cases you may need to show the completed

fi lm to a representative of the Government

of India, in India or in an Indian Mission

abroad, before its release anywhere in the

world. This requirement will apply only to

fi lms made on subjects of political, religious

or socio-cultural sensitivity, and is focused

on ensuring that the fi lm has been shot in

accordance with the scrutinized script and

that the fi lm has nothing objectionable

from the point of view of presentation of

a correct and balanced perspective on the

topic covered.

During the shooting of the fi lm if it is felt

that any material changes or deviation

from the approved script is necessary,

permission may be taken from this Ministry

before shooting these scenes.

Do your homework before picking your facilitator for your fi lm project.


Filming in India


FORMAT OF THE DRAFT UNDERTAKING TO BE SENT BY THE FOREIGN FILM

PRODUCER TO THE GOVERNMENT OF INDIA

To

The Secretary,

Ministry of Information and Broadcasting

Government of India, New Delhi.

Sub:

Sir,

With reference to the Ministry of Information and Broadcasting’s letter No…………………. dated

………………. we hereby give the following undertakings: -

i. Shooting of the fi lm will be done in locations in India in accordance with the script as approved

by the Government of India. If we consider any material changes are necessary in the script, we

shall obtain, the prior approval of the Government of India for such changes.

ii. We shall furnish the detailed particulars of the members of the shooting team and the exact

locations where the shooting would take place in India at least one month in advance of the ar-

rival of the team in India. We note that prior approval of the Government of India is necessary

for the fi xing of locations for shooting in certain areas.

iii. We note that in the case of assistance to be obtained from other Ministries such as Defence,

Education etc. separate agreements as stipulated by these Ministries, are required to be signed

with them.

iv. We shall shoot the fi lm only in the presence of a Liaison Offi cer where attached to the team by

the Ministry of Information and Broadcasting.

v. We accept that part of the Liaison Offi cer’s duty will be to ensure that nothing detrimental in

the depiction of India or the Indian people shall be shot or included in the fi lm. In the event of

any disagreement arising between the team and the Liaison Offi cer in this respect, the matter

will be immediately referred to the Ministry of Information and Broadcasting whose decision will

be fi nal. We shall ensure that India’s security interests are not compromised in any manner.

vi. We undertake to show our completed fi lm to the representative of the Government of India/

the Indian Mission in*_______________ for scrutiny if recommended by the Ministry of I&B and

we further undertake to delete and destroy the portions of the fi lm that may be found objection-

able on such scrutiny by the Government of India, before the fi lm is utilized for public exhibition

anywhere in the world.

vii. After the shooting of the fi lm is completed in India we shall provide, in duplicate, to the Ministry

of Information and Broadcasting a narrative report about the details of shooting done in India.

Yours truly


Filming in India


WHAT THE PROFESSIONAL SERVICES

COMPANY WILL DO FOR YOU

Do your homework before picking your

facilitator for your project.

They will be able to assist you with Locations:

Locations across the country

Talent: Actors, models, extras, singers,

dancers, etc.

Technicians: Art directors, cameramen,

costume designers, directors, editors,

lyricists, make up stylists, music directors,

photographers, script writers, sound

recordists, etc.

Equipment: 35mm/16mm cameras (ARRI and

PANAVISION), HD camera, jibs and cranes,

dollys and panthers, steadycams, lenses and

fi lters, lighting equipment and lights, motion

control rigs and gribs, generators, follow cars,

DVD hard disk based sound recorders, mikes

and booms, etc.

Post production facilities: Digital Intermediate

(D.I.), editing (linear and non-linear), grading

at telecines, processing and printing, visual

effects, computer graphics, animation (2D, 3D,

Claymation), sound mixing (rerecording).

Travel and Accommodation: Access to any

part of the country with all sorts of boarding

and lodging facilities.

Legal procedures/Government permissions:

1. Legal contracts and agreements

2. Clearing and forwarding/customs

3. Film fi nance and insurances

Please provide the Information and

Broadcasting Ministry with the following

information while making your enquiry:

Name of the Company

Applicant’s name and designation

Your contact address, email, telephone

nos

Project title and language

Nature of project (Film/TV/Docu/Ad Film)

Synopsis in English

Duration of fi lming in India

No. of crew travelling to India

Equipment and gear to be brought

into India.

SEND YOUR APPLICATIONS FOR SHOOTING FEATURE FILMS/TELEFILMS IN INDIA TO:

DESK OFFICER (FI), A WING, ROOM NO. 107

MINISTRY OF INFORMATION AND BROADCASTING

GOVERNMENT OF INDIA

SHASTRI BHAVAN, NEW DELHI - 110001 INDIA

usfi [email protected]

PH: +91-11-23384995


Filming in India


KarnatakaLadakh

If the Himalayas can be likened to an oyster, then Ladakh is the pearl. Nestled in the womb of the Himalayas, the main attraction is the 9-storied royal palace styled on the lines of the famous Potala Palace of Tibet. There are the trekking trails, the temples of Chamba and Jo Kang Gompa and the Zanskar Valley.

New DelhiPuducherry

Delhi has been the capital of successive dynasties and was the ‘Jewel in the Crown’ of the British Empire. The city has a continuous living history of more than 3000 years and has been one of the most important cities of India. This eternal city offers a sumptuous banquet of history and heritage, seamlessly in tune with its transformation as one of the world’s fastest growing and largest metropoles today.

Ang Lee’s Oscar winning fi lm ‘Life of Pi’ was shot partly in Puducherry (in South India). That has transformed Puducherry into a paradise for fi lmmakers. A French colony until 1954, this coastal town retains a number of colonial buildings, churches, statues, and systematic town planning and is dubbed ‘The Europe of India’.

Houses the Silicon City of India. And a whole array of health spas. A range of architecture depicted through its palaces, temples, mausoleums, monuments and ruins. Sanctuaries, national parks and waterfalls. Endless beaches, forests, scenic hills and modern cityscapes.

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Filming in India


Maharashtra

India in microcosm, Mumbai, or Bombay as it was once known, provides an excellent backdrop for the race that always fi nishes in the future. Slick and bright urban exteriors that have dark underbellies interrupted by colours that connect across time. Busy bustling daytimes with brightly lit nights that blink and shimmer to a heady beat of people and machines, avant garde and artless, incessantly on the move.

Kolkata

The British are long gone but the colonial infl uence still remains, in the look of its buildings and monuments. Interiors and mindsets that haven’t morphed with the times yet co-exist happily with today. The quaint hand-pulled rickshaws, the Chinese district. The boatsman taking people across the Hoogly as modern vehicles criss-cross the Howrah Bridge.

Gujarat

Gujarat offers beautiful landscapes of various natures, it is interspersed with culture, tradition and festivities. Gujarat has a diverse portfolio of landscapes, from the hills of Saputara, to the white desert in Kutch, from the jungles of Gir to virgin beaches. Such landscapes, coupled with some beautiful heritage structures, make Gujarat a unique destination for fi lmmakers. These locales cater to every mood for every canvas.

Himachal Pradesh

From hills to mountains, capped by snowy peaks; punctuated by passes and glaciers. Dotted by rich fl ora and abundant variety of wildlife with 90% of its seven million population people residing in rural areas. Himachal Pradesh has an abundance of parks, rich with fl ora and fauna and regions that experience temperature extremes.

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Filming in India


RajasthanGoa

The Cannes of India. Currently known as the host city of International Film Festival of India. A land of sun, sea and sand; feni, fun and frolic. Beaches galore, churches and saints, music and dance, festivals and carnivals. Where people enjoy music and dance and raise a toast to celebrate every occasion.

KeralaVaranasi

Kerala, commonly referred to as God’s own country, never lets one down. A small stretch of land, with its cool mountains in the east, rolling hills in the middle which ultimately reach out to the west to the long stretches of pristine, untouched beaches. This unmatched visual feast is complemented by its famous backwaters sandwiched between the sea and the land.

Its university is the seat of knowledge and ancient wisdom and the burning ghats along the river Ganga the apparent route to salvation and eternal peace. Spiritual and mystic moods meld with stark realities of everyday existentialism and the frolic of innocence.

Rajasthan is fi lmmakers’ paradise and a dream destination for fi lm shooting - inspiring forts, majestic mansions, havelis of architectural splendour, heritage hotels, picturesque surroundings, wilderness of silence. The State has a fi lm-friendly policy and encourages fi lmmakers both within and outside the country.

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Filming in India


Jharkhand

Jharkhand is a nature lover’s paradise. It is home to countless waterfalls -- Hundru Falls, Lodh Falls and Johna Falls. The State’s locales include forests, hills, valleys, waterfalls, wildlife, history, culture, charming towns and vibrant cities. It is an unexplored paradise and will be fi lmmakers’ delight for new locales.

Kashmir

The Dal Lake dotted with innumerable houseboats and the distant snow covered mountains. Each houseboat with its own interior layout. Gulmarg, Sonmarg and Pahalgam at higher levels. A warm and outgoing local populace adding its own unique colour to the surroundings. A hint of uneasiness sometimes. And a visual of debris of violent terror attacks contrasts with the colours and culture of a peace-loving people and the beauty of the general environment.

Hyderabad

Ramoji Film City in Hyderabad is the world’s largest integrated fi lm studio complex and one of Asia’s most popular tourism and recreation centers. Hyderabad features many heritage buildings constructed during Qutb Shahi and Nizam eras, showcasing Indo-Islamic architecture infl uenced by Medieval, Mughal and European styles. Hyderabad houses the Telugu fi lm industry which produces over 200 fi lms each year.

Madhya Pradesh

Madhya Pradesh is called the Heart of India because of its location in the centre of the country. The State has everything -- spectacular mountain ranges, meandering rivers dotted with hills and lakes and miles and miles of dense forests offering a unique and exciting panorama of wildlife in sylvan surroundings. Innumerable monuments, exquisitely carved temples, stupas, forts & palaces are dotted all over the State.

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FILM BODIES

Ministry of Information and Broadcasting, Government of India


Indian Film Bodies


Directorate of Film FestivalsDFF promotes international friendship, provides access

to new trends in world cinema, generates healthy

competition and, in the process, helps improve standard

of fi lms.

Directorate of Film Festivals was set up

by the Government of India in 1973 to

organize International and National

Film Festivals within the country. DFF facilitates

India’s participation in Festivals abroad,

arranges programmes of foreign fi lms in India

and Indian fi lms abroad and holds the National

Film Awards function.

As a vehicle of Cultural Exchange, DFF promotes

International friendship, provides access to

new trends in world Cinema, generates healthy

competition and, in the process, helps to improve

the standards of Indian Films.

These objectives are served by organizing the

following activities.;

The International Film Festival of India.

The National Film Awards and the

Dadasaheb Phalke Award.

Cultural Exchange Programme and

organizing screening of Indian fi lms through

the missions abroad.

Selection of Indian Panorama.

Participation in International Film Festivals

abroad.

Special fi lm expositions on behalf of the

Govt. in India.

Print collection and documentation.

These activities provide a unique platform for

an exchange of ideas, culture and experiences

between India and other countries in the fi eld

of cinema. It also provides a powerful platform

for Indian cinema and opens up commercial

opportunities for Indian fi lms. Within the

country, the latest trends in global cinema are

made accessible to the general public, fi lm

industry and students.

DFF provides a powerful platform for Indian cinema and opens up commercial

opportunities for Indian fi lms


Indian Film Bodies


National Film Awards

The National Film Awards is one of the most

prominent fi lm award ceremonies in India.

Established in 1954, it aims at encouraging the

production of fi lms of aesthetic and technical

excellence and social relevance contributing to

the understanding and appreciation of cultures of

different regions of the country in cinematic form

and thereby also promoting integration and unity

of the nation.

The awards also aim at encouraging the study

and appreciation of cinema as an art form

and dissemination of information and critical

appreciation of this art form through publication

of books, articles, reviews, etc.

The National Awards, along with Indian Cinema’s

highest honour, Dadasaheb Phalke Award, are

presented by the President of India in a solemn

function in the presence of the Union Minister

of Information and Broadcasting, Chairpersons

of the three juries, representatives of Film

Federation of India and Confederation of All India

Cine Employees and senior offi cials. The 62nd

National Film Awards for the year 2014 were

presented on May 3, 2015.

SPOT INFORMATION: + 91 11 26499371

WEBSITE: www.dff.nic.in; EMAIL: [email protected];

Director: C Senthil Rajan; FOCUS: National Film Awards and Dadasaheb Phalke Award, International Film Festival of India including India Panorama, Cultural Exchange Programme and Participation in Film Festivals in India and abroad.

ADDRESS: Directorate of Film Festivals, Ministry of Information & Broadcasting Government of India, Siri Fort Auditorium Complex,August Kranti Marg, New Delhi-110049


Indian Film Bodies


International Film Festival of IndiaThe aim of IFFI is to provide a common platform for the

cinemas of the world to project the excellence of fi lm art

One of the most important activities

of the Directorate of Film Festivals is

organizing the annual International

Film Festival of India (IFFI). The IFFI aims at

providing a common platform for the cinemas

of the world to project the excellence of the

fi lm art; contributing to the understanding

and appreciation of fi lm cultures of different

nations in the context of their social and

cultural ethos; and promoting friendship and

cooperation among people of the world.

Nothing exemplifi es the Indian notion of

non-violence and peaceful coexistence as

Vasudhaiva Kutumbakam (the entire world is

a one big family), the phrase in which the IFFI

and its theme are rooted.

The 1st edition of IFFI was organized by the

Ministry of Information and Broadcasting,

Government of India in 1952. Since its

beginnings in 1952 the IFFI has been the

biggest event of its type in India. In 2004 the

IFFI was moved to Goa.

The IFFI’s founding principles centre

on discovery, promotion and support of

fi lmmaking of all genres – thus bringing

together the diversity of forms, aesthetics and

contents.

The Festival is an assembly of people and

nations where the world’s greatest fi lm

artistes hold hands with emerging talents on

an equal footing. It is also a forum for fi lm

professionals to communicate face to face

with fi lm lovers around the world.

IFFI aims to nurture, encourage and inspire

Indian cinema and introduce it to the world

outside as well as the many audiences that

coexist in this vast and diverse country. With

rapid technology changes, the importance

of this festival will only grow as it will bring

viewers and fi lmmakers together and expose

them to emerging technologies and the

challenge of the emerging new media.

New interactions are envisaged; new strategies

would be formulated so that with each edition

of IFFI, the viewing experience is enhanced,

enlarged and enriched.

• Total number of delegates: 12,755

• Total Award money: Rs 1.2 crore (Indian rupees)

• Life Time Achievement Award to Wong Kar-wai (China)

• One of the oldest festivals in Asia & the biggest in India.

IFFI, Goa, 2014 Stats


Indian Film Bodies


IFFI, GoaFIAPF-recognised International Film Festival

of India, which steps into its 46th year in 2015,

was initially established as part of the national

cultural pedagogic project in tandem with the

Nehruvian vision of promotion of art and culture

in independent India.

The mission was to create a seminal event

to showcase alternate cinema and also to

introduce Indian Cinema to the world and

vice versa.The vision of a ‘National Cinema

Collective’ has also been instrumental in

framing a ‘National Cinema’, the kind of cinema

refl ecting the values and aesthetics the nation.

A total of over 315 fi lms from 80 countries

were screened during the festival. The Russian

Film "Leviathan" has been awarded the Golden

Peacock at the 45th International Film Festival

of India (IFFI) for the Best Film.

SPOT INFORMATION: +91 1126499371, +91 1126499356

WEBSITE: http://www.iffi .nic.in

EMAIL: iffi [email protected], iffi fi [email protected]

DIRECTOR: C Senthil Rajan

OBJECTIVE: Platform for the cinemas of the world

ADDRESS: International Film Festival Of India,Ministry of Information & Broadcasting Government of India, Siri Fort Auditorium Complex, August Kranti Marg, New Delhi-110049

November 20-30, 2015


Indian Film Bodies


Children’s Film Society, IndiaCFSI remains the prime producer of children’s fi lms

in India and has created some of the most delightful

content in the country.

Children’s Film Society, India (CFSI) is

an autonomous body under the Ministry

of Information & Broadcasting,

Government of India. CFSI was constituted

in 1955 to make cinema for children that is

both entertaining as well as educative. Since

then CFSI has been producing, exhibiting

and distributing fi lms, serials, animations &

documentaries as well as numerous other

activities to strengthen the children’s fi lm

movement in India.

CFSI remains the prime producer of children’s

fi lms in India and has created some of the most

delightful children’s content in the country.

Since profi t is not the only motive, CFSI is able

to support young talented fi lmmakers and

their imaginative fi lms that would otherwise

not fi nd other commercial producers.

CFSI fi lms always encourage children to

refl ect upon and engage with the world around

them. These fi lms are made in several Indian

languages and emanate from diverse cultural

regions within India. Several stalwarts from

the Indian fi lm industry have directed fi lms

for CFSI and many of its fi lms have won

prestigious international and national awards.

CFSI promotes fi lms that provide healthy

and wholesome entertainment for children

to broaden their perspective and encourage

them to refl ect on the world around. With an

enviable catalogue of 250 fi lms in 10 different

languages, CFSI remains the prime producer

of children's fi lms in South Asia. We also

organise fi lm screenings across the country,

reaching out to approximately four million

children annually.

CFSI is committed to strengthening the

children's fi lm movement within India and

promoting Indian produced children's fi lms

across the globe. CFSI also conducts a world

renowned biennial International Children’s

Film Festival ‘Golden Elephant’.

With a catalogue of 250 fi lms in 10 languages, CFSI remains the prime

producer of children's fi lms in South Asia


Indian Film Bodies


SPOT INFORMATION: + 91 22 – 2352 2870

WEB SITE: www.cfsindia.org

EMAIL: [email protected]; [email protected];

CEO: Shravan Kumar

FOCUS: To strengthen children's fi lm movement in India.

ADDRESS: Children's Film Society India,

8th Floor, Films Division Complex

24-Dr. G. Deshmukh Marg,

Mumbai-400 026 (India)

International Children’s Film Festival India (ICFFI),

also popularly known as The Golden Elephant, is a

biennial festival that strives to bring the most delightful

and imaginative national and international children’s

cinema to young audiences in India. Outstanding features,

shorts, live action and animation fi lms are screened over

seven days of festive celebrations, attended by more

than one hundred thousand children. Hundreds of fi lm

professionals from across the world meet in Hyderabad,

Andhra Pradesh.

The 19th edition of 'The Golden Elephant,' will take

place from November 14 - 20. The fi lms produced

between August 2013 to July 2015 are eligible for

participation in Competition Section of the Festival. A

Selection Committee of experts from the fi lm world and

allied fi elds will preview the fi lms received for different

sections of the Festival and select for festival screening.

The last date for call of entries will be 31st July 2015.

For further assistance contact Festival Coordinator –

icffi @cfsindia.org

International Children’s Film Festival India


Indian Film Bodies


Films DivisionFilms Division has actively worked in encouraging

and promoting a culture of documentary fi lmmaking

in India thatrespects individual vision and social

commitment.

The Films Division of India was

established in 1948 to articulate the

energy of a newly independent nation.

For more than six decades, the organization

has relentlessly striven to maintain a record of

the social, political and cultural imaginations

and realities of the country on fi lm. It has

actively worked in encouraging and promoting

a culture of documentary fi lmmaking in India

that respects individual vision and social

commitment.

It is the main fi lm-medium organization of the

Government of India and is well equipped with

trained fi lm personnel, cameras, recording

and editing facilities. This infrastructure is put

to use to assist in-house as well as freelance

fi lmmakers and producers.

In its archives, the Films Division of India

holds more than 8000 titles on documentaries,

short fi lms and animation fi lms.

Some of the fi lms produced by Films Division

are telecast on national / local television

networks. Educational institutions and social

organisations all over the country borrow

fi lms of Films Division from its branch offi ce

libraries maintained all over India. VCD/DVD of

the fi lms are sold to interested people, public

and private institutions at nominal cost.

The External Publicity Division of Ministry of

External Affairs, Govt. of India, distributes

prints of selected fi lms to Indian Missions

abroad. The fi lms are also commercially

exploited on Royalty basis by supplying to

overseas video /TV networks.

Films Division has 10 Distribution Branch

Offi ces located in Bangalore, Mumbai

(Bombay), Kolkata, Hyderabad, Lucknow,

Chennai (Madras), Madurai, Nagpur,

Thiruvananthapuram and Vijayawada, which

cater to over thousands of cinema houses in

the country with an audience of about ninety to

hundred million per week. Films Division also

supplies CDs to mobile units of the Directorate

of Field Publicity and the Departments of

Central as well as State Governments.

Films Division has experienced and trained

technical and non–technical persons for

fi lmmaking, right from script writing to

distribution. It is well equipped with movie

cameras, video cameras, sound recording and

video equipment. It has on-line video editing

facilities with the latest and best available

equipment in the world. These resources

(including video editing) are available to

outsiders also, on rental basis.


Indian Film Bodies


Mumbai International Film Festival

The Mumbai international Film Festival for Documentary,

Short and Animation fi lms (MIFF) is a biennial competitive

event organised by the Films Division, Ministry of Information

& Broadcasting, Government of India. The Government of

Maharashtra supports the festival with a Grant-in-Aid. The MIFF,

which began in the year, 1990 is the oldest and largest fi lm festival

for non-feature genre in the South Asia and Films Division has

successfully organized 13 editions of the fi lm festival. The 14th

edition of MIFF will be held in January-February,2016 in Mumbai.

The MIFF attracts best fi lms from all over the world which vie for

top honours including Golden Conches and attractive cash awards.

Apart from Indian and International Competition categories,

MIFF also have sections like MIFF Prism, Homages, Country

Focus, Retros and Special Packages. A veteran from the Indian

documentary fraternity is honoured with the Dr. V Shantaram

Lifetime Achievement in the MIFF. The festival also hosts events

like seminars, work shops, lecture-demonstrations, Master classes,

Producers Forum, Doc edge and Open Forum.

SPOT INFORMATION: +91 22 2355 1301/2351 3633

WEBSITE: http://www.fi lmsdivi-sion.org / www.miff.in

EMAIL: dgfd@fi lmsdivision.orgdgfi [email protected]

DG: V. S. Kundu

OBJECTIVE: Promoting docu-mentary fi lm culture in India

ADDRESS: Films Division, Minis-try of Information & Broadcast-ing, Government of India, 24 – Dr. G. Deshmukh Marg, Mumbai-26.

We need image here


Indian Film Bodies


National Film Development CorporationAs the name suggests, NFDC does a lot for the growth of

Indian cinema. It breaks new grounds by co-producing

movies, facilitates services and organises Film Bazaar.

Incorporated in the year 1975, NFDC was

formed by the Ministry of Information and

Broadcasting, with the primary objective of

promoting the Good Cinema Movement.

NFDC has over the years produced noteworthy

fi lms with acclaimed fi lmmakers like

Ghare-Baire(Satyajit Ray), Gandhi (Richard

Attenborough), The Making of the Mahatma

(ShyamBenegal), Salaam Bombay (Mira

Nair), JaaneBhi Do Yaaro(Kundan Shah),

MirchMasala(Ketan Mehta), The Lunchbox

(RiteshBatra), The Good Road (Gyan Correa),

among many others.

With fi nancial support extended to more than

300 fi lms in 21 regional languages, NFDC’s

architecture aims towards creating domestic

and global appreciation of good cinema.

Apart from its unique positioning in the fi lm

industry as a fi lm development agency, NFDC

also functions as a business unit by producing

advertisement campaigns supplemented with

360 degrees support to government clients. So far,

NFDC has strategized and developed signifi cant

communications for the Ministry of Women and

Child Development, Ministry of Environment &

Forests, Ministry of Rural Development, Ministry

of Minority Affairs, Ministry of Consumer Affairs,

amongst many others.

In addition to production of fi lms, NFDC has

been instrumental in creating an ecosystem

to support the development, fi nancing and

distribution of independent fi lms across the

country. Film Bazaar, a NFDC initiative, has been

an integral part of this process.

NFDC organizes Film Bazaar(20th - 24th

November 2015, Goa Marriott Resort), side by

side the International Film Festival Of India,

Goa (20TH -30TH November, 2015). The Film

bazaar is South Asia’s global Film Market, which

is a platform exclusively created to encourage

collaboration between the international and

South Asian fi lm fraternity. The Bazaar is focused

on discovering, supporting and showcasing

South Asian content and talent, in the realm

of fi lmmaking, production and distribution. A

converging point for fi lm buyers and sellers

from all over the world, the Bazaar also aims

at facilitating the sales of world cinema in the

South Asian Region. The 2014 market saw an

attendance of 1042 delegates from 38 countries.

Film Offi ces, a new segment, has been introduced

at Film Bazaar 2014, to bring to our fi lmmakers

the world of picturesque locations that would

fi t into their scripts and add value to their fi lms.

The basic objective of Film Offi ces is to connect

Indian State Tourism bodies and International

Film Commissions with Indian fi lmmakers.

The Offi ces provide these organizations with

a platform to showcase their locations and

incentives that will benefi t both the country and

the fi lmmaker.


Indian Film Bodies


NFDC organises the Film Bazaar (20th - 24th

November 2015, Goa Marriott Resort), South

Asia’s global Film Market, which is a platform

exclusively created to encourage collaboration

between the international and South Asian fi lm

fraternity. The Bazaar is focused on discovering,

supporting and showcasing South Asian

content and talent, in the realm of fi lmmaking,

production and distribution. A converging

point for fi lm buyers and sellers from all over

the world, the Bazaar also aims at facilitating

the sales of world cinema in the South Asian

Region. Film Offi ces, a new segment, has been

introduced at Film Bazaar 2014, to bring to

Indian fi lmmakers the world of picturesque

locations that would fi t into their scripts and add

value to their fi lms. The Offi ces provide these

organisations with a platform to showcase their

locations and incentives that will benefi t both

the country and the fi lmmaker.

Film Bazaar India

SPOT INFORMATION: +91 22662 88288

WEBSITE: http://www.nfdcindia.com/

EMAIL: [email protected]

MD: Nina Lath Gupta

OBJECTIVE: Promote South Asian Cinema

ADDRESS: National Film Development Corporation, 6th Floor, Discovery of India Building, Nehru Centre, Dr. Annie Besant Road, Worli, Mumbai 400 018, Maharashtra.


Indian Film Bodies


Film and Television Institute of India, PuneDesigned for a new generation storytellers, the Film and

Television Institute of India is for visual and performing

artists who share a passion for motion pictures and

want to learn more.

The Film and Television Institute of

India is designed for a new generation

of storytellers: visual and performing

artists who share a passion for motion

pictures and want to learn by making their

own projects in a hands-on, intensive program.

FTII students are not lost in large classes. As

an explicit policy, we limit class size to make

individual attention and interaction among

students and instructors possible. All students

are encouraged to meet faculty one-on-one for

consultation throughout their course, creating

an environment that promotes personal

development and learning.

In keeping with this philosophy, FTII takes

pride in its open door policy of admission.

Students from diverse backgrounds and from

all walks of life are welcome. This nurtures

a supportive, positive atmosphere conducive

to the level of collaboration required to do

great work. Celebrated guest speakers from

the fi lm, television, and media industries

frequently visit FTII to share their knowledge

and experience with our students.

Learning to be a Director, Cinematographer,

Editor, Sound Designer, Art Director, Actor,

Screen Play Writer or Animator is not done

“by mere numbers.” It is done by hands-

on experience, trial and error, feedback and

correction, and questions and answers.

Filmmaking demands the integration of many

kinds of knowledge. It is the integration of

knowledge that distinguishes FTII from many

other fi lm schools.

Women in Film and Television, India (WIFT)

was launched last year at FTII, Pune. WIFT

India is a global not-for-profi t organisation

dedicated to provide a dynamic platform to

facilitate and recognize the achievement of

women in fi lm, TV and multi-screen media.

SPOT INFORMATION: +91-020-25431817

WEBSITE: http://www.ftiindia.com


DIRECTOR: D.J.Narain

OBJECTIVE: National Centre of Excellence

ADDRESS: Film and Television Institute of India, Law College Road, Pune – 411 004


Indian Film Bodies


Satyajit Ray Film and Television Institute, KolkataA national centre of excellence which offers post gradu-

ate programmes in cinematic studies, the institute is

named after legendary fi lmmaker Satyajit Ray.

Named after the legendary fi lm maestro

Satyajit Ray, the Institute has emerged

as a national centre of excellence which of-

fers post-graduate programmes in Cinematic

studies.

SRFTI has succeeded in articulating and

disseminating classical and contemporary

theories of praxis for creative minds to leap

into the world of professional practice: be it

mainstream, parallel/art-house, experimen-

tal or non-fi ction narratives. The Institute has

crossed many milestones towards a new par-

adigm of the art and craft of Filmmaking.

SRFTI’s alumni have won accolades regularly

through their mastery over fi lmmaking. They

have been trendsetters, changing the course

of fi lmmaking through the fusion of thought,

craft and entrepreneurial abilities. By prov-

ing their mettle as dedicated professionals,

they have increased the acceptability of cur-

rent students in the complex and competitive

world of fi lmmaking.

With state-of-the art facilities, SRFTI pro-

vides a creative ambience to inspire the bud-

ding fi lmmakers with an innovative language

of artistic expression.

And their contribution builds the blocks for

better Cinema. SRFTI is a member of CILECT,

International Association of Film and Televi-

sion Schools (Centre International de Liaison

des Ecoles de Cinéma et de Télévision).

SRFTI will soon commence three year post

graduate programme in Animation.

SPOT INFORMATION: +91-033-24328355/8356/9300

WEBSITE: www.srfti.gov.in


DIRECTOR: Sanjay Pattanayak

OBJECTIVE: National Centre of Excellence

ADDRESS: Satyajit Ray Film & Television Institute, E.M.Byepass Road, P.O. Panchasayar, Kolkata-700094




CO-PRODUCTION AGREEMENTS

Between India & other Countries


Co-Production Agreements


The Government of the Republic of India and the Government of the Federative Republic of Brazil (hereinafter referred to as “the Con-tracting Parties”)Seeking to enhance co-operation between their two countries in the audio-visual area;Desirous of expanding and facilitating the Co-Production of audio-visual works, which may be conducive to the development of the fi lm and audio-visual industries of both countries and to the expansion of cultural and economic exchanges between them;Convinced that these exchanges will contribute to the enhancement of relations between the two countries;

Have agreed as follows:

Article 1

Defi nitionsFor the purposes of this Agreement

“Audiovisual Co-Production” means an 1. audiovisual work jointly invested in and produced by one or more Brazilian Co-producers and one or more Indian Co-producers under a project approved by both Competent Authorities.

“Audiovisual Work” means any record of a 2. sequence of related images, irrespective of length, which is intended to be made visible as a moving image through the use of devices, regardless of the medium of initial or subsequent fi xation, and for which there is an expectation for public exhibition. It includes fi lms and video recordings, animation and documentary productions for exploitation in theatres, on television, DVD or by any other form of distribution. New forms of audiovisual production shall be included in the present agreement by exchange of Notes between the Contracting Parties.

“Co-producer” shall be:3.

As regards the Republic of India:a.

Nationals/citizens of the Republic (i) of India;

Permanent residents of India; and (ii)

Entities which are established (iii) and/or incorporated in India.

As regards the Federative Republic of b. Brazil:

BRAZILAGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC

OF INDIA AND THE GOVERNMENT OF THE FEDERATIVE

REPUBLIC OF BRAZIL ON AUDIO VISUAL CO-PRODUCTIONS.

Th G f h R bli f I di d “A di i l W k” d f2




Nationals/citizens of the Federative (i) Republic of Brazil;

Permanent residents of Brazil; (ii) and

Entities which are established (iii) and/or incorporated in Brazil.

“Competent Authority” means:4.

On behalf of the Federative Republic of a. Brazil, the Ministry of Culture; and

On behalf of the Republic of India, b. the Ministry of Information and Broadcasting.

Article 2

Benefi tsAn Audiovisual Co-Production shall 1. be treated as a national Audiovisual Work by both Contracting Parties and, therefore, shall be fully entitled to all the benefi ts which are or may be accorded to national audiovisual works by each of the Contracting Parties under their respective national laws.

Any benefi ts available in Brazil may only 2. be accorded to a Brazilian Co-producer.

Any benefi ts available in India may only be 3. accorded to an Indian Co-producer.

The sharing of expenses and revenues shall 4. be as mutually decided by the Co-producers.

Article 3

Approval of ProjectsAudiovisual Co-Productions shall 1. require, prior to the commencement of shooting, approval of both the Competent Authorities.

Approvals are granted under their 2. respective national laws, shall be in writing and shall specify the conditions upon which the approval is granted. None of the Co-producers shall be linked by common management, ownership or control, save to the extent that such links are inherent in the making of the Audiovisual Co-Production itself.

In considering proposals for the making 3. of an Audiovisual Co-Production, both Competent Authorities shall apply the rules and principles set out in this Agreement as well as in its Annex, with due regard for their respective policies and guidelines.

Article 4

ContributionsFor each Audiovisual Co-Production:1.

The performing, technical, craft a. and creative participation of the Co-producers; and

The production expenditure of the Co-b. producer in the Republic of India or in the Federative Republic of Brazil shall be in reasonable proportion to their respective fi nancial contributions and as mutually decided by both the Co-producers.

Both the fi nancial contribution, and the 2. managerial, performing, technical, craft and creative participation of each Co-producer shall account for at least 20% (twenty per cent) of the total budget of the Audiovisual Co-Production.

Notwithstanding the contribution and 3. participation rules set out in paragraphs 1 and 2 of this Article, in exceptional cases both Competent Authorities may approve Audiovisual Co-Productions where:

The contribution by one Co-producer is a. limited to the provision of fi nance only, in which case the proposed fi nance-only contribution shall be 20% (twenty per cent) or more of the total budget of the Audiovisual Co-Production; or

Despite falling outside the contribution a. rules, the Competent Authorities consider that the project would further the objectives of this Agreement and should be approved accordingly.

Subject to the specifi c conditions and limits 4. laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral Co-Productions the minority




contribution may not be less than 10% (ten per cent), and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the Audiovisual Work.

Article 5

Third Country Co-ProductionsWhere either the Republic of India or the 1. Federative Republic of Brazil maintains with a third country an Audiovisual Co-Production agreement, the Competent Authorities may approve a project for an Audiovisual Co-Production under this Agreement that is to be made in conjunction with a Co-producer from that third country.

Approvals under this Article shall be limited 2. to proposals in which the contribution of the third country Co-producer is no greater than the lesser of the individual contributions of the Brazilian and Indian Co-producers.

Article 6

ParticipantsThe screenwriters, the director, actors 1. and other artistic and technical personnel participating in an Audiovisual Co-Production shall be:

As regards the Republic of India,a.

Nationals/citizens of Republic of (i) India; and

Permanent residents of India. (ii)

As regards the Federative Republic of b. Brazil,

Nationals/citizens of the Federative (i) Republic of Brazil; and

permanent residents of Brazil.(ii)

In cases in which there is a third Co-c. producer,

Nationals/citizens of the third Co-(i) producer’s country; and

Permanent residents of the third (ii) Co-producer’s country.

Participants in an Audiovisual Co-2. Production as defi ned in this Article must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity.

In exceptional cases, both Competent 3. Authorities may approve Audiovisual Works

where script or fi nancing dictate the a. engagement of performers from other countries; and

where artistic or fi nancing reasons b. dictate the engagement of technical personnel from other countries.

Article 7

Negatives, First-Release Print and LanguagesAt least one negative and one duplicate 1. negative shall be made of all Audiovisual Co-Productions. Each Co-producer shall be entitled to make a further duplicate or prints there from. Each Co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the Co-producers themselves. The storage of the original negative shall be as mutually decided by the Co-producers.

Audiovisual Co-Productions shall be made 2. and processed up to the manufacture of the fi rst release print in the Republic of India or in the Federative Republic of Brazil or, when there is a third Co-producer, in that third Co-producer’s country.

The original soundtrack of each Audiovisual 3. Co-Production shall be made in Hindi, or any other Indian language or dialect, or in English or Portuguese, or in any combination of those permitted languages. Dialogue in other languages may be included in the Audiovisual Co-Production, as the script requires.




The dubbing or subtitling into one of the 4. permitted languages of the Republic of India or into Portuguese shall be carried out in the Republic of India or in the Federative Republic of Brazil. Any departure from this principle must be approved by the Competent Authorities.

Article 8

International FestivalsThe majority Co-producer shall normally 1. enter Audiovisual Co-Productions in international festivals.

Audiovisual works produced on the basis 2. of equal contributions shall be entered as an Audiovisual Work of the country which the director is from.

Article 9

Location ShootingThe Competent Authorities may approve 1. location shooting in a country other than those of the participating Co-producers.

Notwithstanding Article 6, where location 2. shooting is approved in accordance with the present Article, citizens of the country in which location shooting takes place may be employed as crowd artists, in small roles, or as additional employees whose services are necessary for the location work to be undertaken.

Article 10

CreditsAn Audiovisual Co-Production shall include a title, in the initial credits, indicating that the Audiovisual Work is an “Offi cial Indian – Brazilian Co-Production” or an “Offi cial Brazilian – Indian Co-Production”. The promotional material associated with the audiovisual work shall likewise include a credit refl ecting the participation of the Republic of India, the Federative Republic of Brazil and, when relevant, the country of a third Co-producer.

Article 11

Temporary Entry into the CountryFor approved Audiovisual Co-Productions, 1. each Contracting Party shall facilitate, in accordance with the domestic law in force in its country:

Entry into and temporary residence in a. its territory for technical and artistic personnel of the other Contracting Party;

The import into and export from b. its territory of technical and other fi lmmaking equipment and materials by producers of the other Contracting Party; and

The transfer of funds destined for c. payments related to the audio-visualCo-Productions.

These dispositions also apply to third 2. parties, approved under Article 5 of the present agreement.

Article 12

Joint CommissionA Joint Commission shall be established 1. comprising representatives of the Competent Authorities from both Contracting Parties.

The role of the Joint Commission shall 2. be to evaluate the implementation and operation of this Agreement and to make any proposals considered necessary to improve the effect of the Agreement.

The Joint Commission shall be convened, 3. whether by meeting or otherwise, at the request of either of the Contracting Parties within six months of such a request.

Article 13

Entry into ForceThis Agreement shall enter into force on 1. the date of the second notifi cation between the Contracting Parties, through diplomatic channels, conveying that the requirements for the entry into force of this Agreement have been satisfi ed.




This Agreement including the Annex, which 2. forms an integral part of this Agreement, shall remain in force for an unlimited period of time, unless terminated in terms of paragraph 3 of this Article.

Either Contracting Party may terminate 3. this Agreement by giving six months` written notice in advance of such intention to the other Contracting Party through the diplomatic channel.

Termination of this Agreement shall have 4. no effect on the completion of Audiovisual Co-Productions approved prior to its termination.

Article 14

Permission for Public ExhibitionPermission for public exhibition will be in 1. accordance with local laws in both India and Brazil.

The approval of Co-Production status 2. under this Agreement will not mean a commitment to permit public exhibition of the Audiovisual Co-Production.

Article 15

AmendmentThis Agreement may be amended by 1. mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through diplomatic channel.

Article 16

Dispute ResolutionAny dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation only.

DONE at New Delhi, on the of June, 2007, in two originals in Hindi, Portuguese, and English, each version being equally authentic. In case of any divergence of interpretation, the English text shall prevail.

For the Government of Republic of INDIA

For the Government of FederativeRepublic of BRAZIL

Annexure to Agreement between the Government of the Republic of India and the Government of the Federative Republic of Brazil on Audio Visual Co-Productions (Rules of procedure for applications for approval of Co-Production status under this agreement)

ANNEX

Applications for qualifi cation of an 1. Audiovisual Work for Co-Production benefi ts under this Agreement must be made simultaneously to both Competent Authorities at least 60 (sixty) days before shooting begins.

The Competent Authority of one of the 2. Contracting Parties shall communicate their decision to the other Competent

Authority within thirty (30) days of the submission of the complete documentation.

The approval process under Article 3 of 3. this Agreement shall comprise of approval prior to commencement of shooting of the Audiovisual Work.

Documentation submitted in support of an 4. application shall consist of the following items, drafted in English in the case of India and in Portuguese in the case of Brazil:

The fi nal script and synopsis.a.

Documentary proof of having legally b. acquired the copyright to produce and exploit the Audiovisual Work.




A copy of the Co-Production contract c. signed by the Co-producers. The contract shall include:

The title of the Co-Production;(i)

The name of the original script writer (ii) or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a fi lm from the author/legal heirs shall be attached;

The name of the director (a (iii) substitution clause is permitted to provide for his/her replacement if necessary);

The budget, identifying the (iv) expenses to be incurred by each Co-producer;

The fi nancing plan;(v)

A clause establishing the sharing (vi) of revenues, markets, media or a combination of these;

A clause detailing the respective (vii) shares of the Co-producers in any over expenditure; the minority Co-producer’s share may be limited to a lower percentage or to a fi xed amount, provided that the minimum proportion permitted under Article 4 of the Agreement is respected;

A clause recognizing that (viii) admission to benefi ts under this Agreement does not constitute a commitment that governmental authorities in India will grant a license to permit public exhibition of the Audiovisual Work;

A clause prescribing the measures (ix) to be taken where:

After full consideration of 1. the case, the Competent

Authorities in either country refuse to grant the benefi ts applied for;

Either one or the other 2. Contracting Party fails to fulfi l its commitments.

The period when shooting is 3. to begin;

A clause stating that the 4. majority Co-producer shall take out an insurance policy covering at least “all production risks” and “all original material production risks”; and

A clause providing for the 5. sharing of the ownership of copyright on a basis that it is proportionate to the respective contributions of the Co-producers.

5. The distribution contract, if it has already been signed, or a draft if it has yet to be concluded.

6. A list of the creative and technical personnel indicating their nationalities.

7. The production schedule.

8. Final shooting script.

9. The Competent Authorities can demand any further documents and all other additional information deemed necessary.

10. Amendments, including the replacement of a Co-producer, may be made in the original contract, but they must be submitted for approval by the Competent Authorities before the Audiovisual Co-Production is fi nished. The replacement of a Co-producer may be allowed only in exceptional cases and for reasons satisfactory to the Competent Authorities.




CANADAAUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN

THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE

GOVERNMENT OF CANADA.

The Government of the Republic of India and the Government of Canada (the “parties”),Recognizing that quality audiovisual co-pro-ductions contribute to the vitality of the au-diovisual industries of the Parties and to the development of their economic and cultural exchanges;

Appreciating that cultural diversity is nur-tured by ongoing exchanges and interaction between cultures and that it is strengthened by the free fl ow of ideas;

Recalling that, in pursuit of international co-operation, the UNESCO Convention on the Protection and Promotion of Diversity of Cul-tural Expressions, done at Paris on October 20, 2005, encourages the conclusion of co-pro-duction agreements as a means to promote international cooperation;

Agreeing that these exchanges will enhance relations between the Parties;

Recognizing that these objectives may be achieved by granting domestic benefi ts to qualifi ed audiovisual co-productions;

Have agreed as follows:

ARTICLE 1 - DEFINITIONS

For the purposes of this Agreement:

(a) “administrative authority” means, for each Party, the authority which administers the application of this Agreement;

(b) “audiovisual” means fi lm, television, and video projects made on any production support, existing or future, for any distribu-tion platform intended for viewing;

(c) “Canadian elements” are expenditures made in Canada by the Canadian producer or expenditures on Canadian creative and technical personnel made in other States by the Canadian producer in the course of the production of a work;

(d) “competent authority” means, for each Party, the delegated authority responsible for the negotiation and implementation of this Agreement;

(e) “distribution or broadcasting” means the public exhibition or showing of an audiovi-sual work;




(f) “Indian elements” are expenditures made in India by the Indian producer or expendi-tures on Indian creative and technical per-sonnel made in other States by the Indian producer in the course of the production of a work;

(g) “national” means a natural or legal person having a legal relationship which connects that person to a State and which confers to that person, under the law of that State, the right to benefi t from the application of the relevant provisions of this Agreement;

(h) “non-party” means a State which does not have a coproduction Agreement or memo-randum of Understanding with either Party;

(i) “producer” means a national managing the production of a work;

(j) “third-country” means a State which has a co-production Agreement or memoran-dum of Understanding with at least one of the Parties;

(k) “work” means an eligible audiovisual work to be subsequently recognized as an of-fi cial co-production by each Party and in-cludes every version thereof.

ARTICLE 2 - GENERAL CONDITIONS

A Party shall treat every work as its own 1. production, and to that extent, make it eligible for the same benefi ts as those available to its audiovisual industries.

Each Party shall grant the benefi ts 2. referred to in paragraph 1 to the producers of a work who are its own nationals.

Each Party shall strive to achieve overall 3. balance on the fi nancing of works co-produced over a period of fi ve years.

ARTICLE 3 - PARTICIPATING

PRODUCERS

A work shall be jointly produced by 1. producers of both Parties.

In addition to producers of Canada and 2. India, third-country producers may also participate in a work.

ARTICLE 4 - PROPORTIONALITY

The share of work expenditures spent 1. on Canadian elements and on Indian elements respectively shall be in reasonable proportion to the producers’ respective fi nancial contribution.

The administrative authorities may, by 2. mutual consent in writing, recommend exemptions from paragraph 1, notably for storyline and creative purposes.

ARTICLE 5 - NATIONALITY OF

PARTICIPANTS

Subject to paragraph 2, a participant in 1. a work shall be a national of one of the Parties.

The administrative authorities may 2. by mutual consent in writing grant exemptions from paragraph 1 notably to allow third-country nationals or non-party nationals to participate in a work for storyline, creative, or production purposes.

ARTICLE 6 - TEMPORARY ENTRY AND

RESIDENCE

Subject to the Parties’ respective legislation and regulations, the Parties shall facilitate the following: (a) The temporary entry into and residence in

their respective territories of the creative and technical personnel and the perform-ers engaged by the producer of the other Party for the purposes of the work;

(b) The temporary entry and re-export of any equipment necessary for the purposes of the work.

ARTICLE 7 - COPYRIGHT

The Parties shall ensure that the sharing of copyright and revenues between the produc-ers is, in principle, proportional to their respec-tive fi nancial contribution in accordance with the respective requirements of the Parties.

ARTICLE 8 - DISTRIBUTION

Each Party shall verify that its producer 1. demonstrates the existence of a distribution or broadcasting commitment




in each other’s territory and, if third-country producers are involved in the work, in the territory of each of the third country producers.

The administrative authorities may by 2. mutual consent in writing, accept an alternative distribution commitment in lieu of the commitment described in paragraph 1, provided that the producers of a work demonstrate that this alternative commitment exists.

ARTICLE 9 - MATERIAL CHANGES

Each Party shall ensure that its producer promptly advises its administrative authority of any material change to a work that may affect its qualifi cation for benefi ts under this Agreement.

ARTICLE 10 - COMMUNICATION

Each competent authority shall promptly ad-vise the other of any amendment or judicial interpretation of domestic law that may affect benefi ts available under this Agreement.

ARTICLE 11 - STATUS OF ANNEX

The Annex to this Agreement is for 1. administrative purposes and is not part of this Agreement.

The Annex may be modifi ed by the 2. competent authorities by mutual consent in writing, provided that the modifi cations do not confl ict with this Agreement.

ARTICLE 12 - MEETINGS AND

AMENDMENTS

Meetings will be held as needed between 1. representatives of the competent authority of each Party, to discuss and review the terms of this Agreement.

The Parties may amend this Agreement 2. by mutual consent in writing. The amendments shall enter into force on the date of the last written notifi cation that

domes tic procedures necessary for the entry into force have been completed by the Parties.

ARTICLE 13 - TRANSITIONAL

PROVISION

A Party shall not discontinue benefi ts con-ferred on a work pursuant to this Agreement for a period of two years following the termi-nation of this Agreement.

ARTICLE 14 - SETTLEMENT OF

DISPUTES

Any dispute arising out of the interpretation, application or implementation of any provi-sions of this Agreement shall be settled con-sensually through consultation and negotia-tion between the Parties.

ARTICLE 15 - ENTRY INTO FORCE

Each party shall notify the other Party in 1. writing of the completion of its internal procedures required for the entry into force of this Agreement. This Agreement shall enter into force on the fi rst day of the fi rst month following the later notifi cation.

This Agreement shall remain in force for a 2. period of fi ve years from the date of entry into force.

Subject to paragraph 4, this Agreement 3. shall renew automatically at the end of fi ve years from the date of entry into force and at the end of every subsequent fi ve-year period.

A Party may give notice to the other Party 4. in writing of its intention to terminate this Agreement. This notice shall be given no less than six months before the end of the fi fth year following the entry into force, or before the end of any subsequent fi ve-year period, in which case this Agreement shall terminate at the end of that fi ve-year period.

IN WITNESS WHEREOF, the undersigned, being duly authorized by their respective govern-ments, have signed this Agreement.




Done....................on the.............day of .......... 2014.... ........., in duplicate, in the English, French and Hindi languages, each version being equally authentic.

For and on Behalf of the

Government of the republic of India

For the Government of

Canada

ANNEX

This Annex is for administrative purposes and is not part of the Audiovisual Co-produc-tion Agreement between the Government of the Republic of India and the Government ofCanada (the “Agreement”).

1. DEFINITIONS

Unless otherwise specifi ed, the defi nitions of the Agreement apply. For the purposes of this Annex: “dubbing” means the production of any version in a language other than the original language or languages of the work.

2. FINANCIAL CONTRIBUTION BY

PRODUCERS

(a) The fi nancial contribution of the producers of each Party will be decided by arrange-ment between the producers, and will be between 20 per cent and 80 per cent of the total production budget of the work.

(b) The third-country producer(s) involved in a multi-party work will contribute a mini-mum of 10 percent of the total production budget of that work.

3. CREATIVE AND TECHNICAL

CONTRIBUTION BY PRODUCERS

(a) The creative and technical contribution of the producers will be in reasonable propor-tion to their respective fi nancial contribu-tion, and in accordance with the require-ments of the respective Parties.

(b) The creative and technical contribution of each thirdcountry producer involved in the work will be in reasonable proportion to their respective fi nancial contribution.

(c) The Parties, through their administrative may by mutual consent in writing exemp-tions from paragraphs (a) and (b), storyline and creative purposes. authorities, recom-mend notably for

4. LOCATION AND TECHNICAL

SERVICES

(a) Subject to paragraph (b), a work will be shot in the territory of either Party and may also be shot in the territory of a third-country producer.

(b) The administrative authorities may, by mu-tual consent in writing, allow a work to be shot in the territory of a third country or a non-country for a storyline and/or creative reasons.

(c) All or part of the technical services of a work will be provided in the territory of either Party or in the territory of a third-country producer.

5. DUBBING

(a) Subject to paragraph (b), all dubbing ser-vices will be performed in the territory of one of the Parties or of a third-country pro-ducer.

(b) Where a producer can reasonably demon-strate that the necessary capacity does not exist in the territory of either Party or of a third-country producer, the administrative authorities may by mutual consent allow the dubbing to be performed elsewhere.

6. MODIFICATION

The provisions of this Annex may be modifi ed by mutual consent in writing of the competent authorities provided that these modifi cations do not confl ict with the Agreement.




The MINISTRY OF INFORMATION AND BROADCASTING OF THE REPUBLIC OF IN-DIA and the STATE ADMINISTRATION OF PRESS, PUBLICATION, RADIO, FILM AND TELEVISION OF THE PEOPLE’S REPUBLIC OF CHINA hereinafter referred to as the “Contracting Parties”,

CONSIDERING that it is desirable to estab-lish a framework for the development of their audio visual co-productions;

CONSCIOUS that quality co-productions can contribute to the further expansion of the audio visual production and distribution of both countries as well as to the development of their cultural and economic exchanges;

CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries in the audio visual fi eld;

HAVE AGREED AS FOLLOWS:

ARTICLE 1 Defi nition

For the purpose of this Agreement:1.1 “Co- Production” refers to feature fi lm,

documentary, cine-fi lm or animation fi lm, irrespective of length, produced in any format, and distributed in theatres, on televisions, video cassettes or any other forms of projection.

1.2 “Co-production” is a production co-pro-duced after joint investment by producers from India and China.

1.3 “Competent Authority” responsible for implementation of the Agreement shall be -

On behalf of Republic of India, a. the Ministry of Information and Broadcasting

On behalf of Government of the b. People’s Republic of China, the State Administration of Press, Publication, Radio, Film and Television.

Co-production projects falling within c. the scope of this Agreement shall be subject to the approval of the Competent Authority.

Each co production undertaken under d. this Agreement shall be in accordance

CHINAAUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN

THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE

PEOPLE’S REPUBLIC OF CHINA.




with the laws and regulations in force in the Contracting Parties.

1.4 “Co-producer” shall be: In relation to India: a.

Citizens of India; (i)

Entities which are established or (ii) incorporated in India

In relation to China:b.

Citizens and legal persons of (i) China;

Persons who are not citizens (ii) of China but are permanent residents of China;

Entities which are established or (iii) incorporated in China.

1.5 “Nationals” mean persons of either Contracting Party deriving the status as nationals of that Contracting Party from its laws and regulations in force.

ARTICLE 2 Recognition as a National Film

and Entitlement to Benefi ts

2.1 A co-production fi lm shall be fully entitled to all the benefi ts which are or may be accorded to national fi lms by each of the Parties under their respective national laws and regulations.

2.2 These fi lms shall be entitled to claim all state support and benefi ts available to the fi lm and video industries and the privi-leges granted by the provisions in force in the respective countries

ARTICLE 3 Contribution

3.1 Any benefi ts under this Agreement shall be available for audio visual co-production only when investment or fi nance, mate-rial and management including creative and other inputs not below 20% comes from co-producer of one country; provided always that specifi c percentage contribu-tion will be decided amongst producers themselves.

3.2 Notwithstanding anything stated in above paragraph, the competent authorities of both sides may at any time decide jointly

in writing to make appropriate changes, in percentage, as may be deemed fi t.

ARTICLE 4 Participants

4.1 The producers, writers, directors, techni-cians, actors and other personnel involved in co-productions shall be citizens of either of the countries or permanent resi-dents of either party.

4.2 In the event of exceptional need of audio visual co-production, persons other than nationals or permanent residents as stated hereinabove are permissible to be engaged without losing the character of co-production in case advance writ-ten permission from both the countries’ authorities is obtained after explaining the reasons of inclusion of such person.

ARTICLE 5 Filming and Production

Outside the Contracting Countries

5.1 Live action shooting of a co-produced fi lm, including animation works such as story-boards, layout, key animation, in between and voice recording must, in principle, be carried out alternately in India or in China.

5.2 Location shooting of a co-produced fi lm, exterior or interior, in a country not partici-pating in the co-production may, however, be authorized by the competent authori-ties of both countries if the script or the action so requires and if technicians from India and China take part in the shooting.

5.3 The processing and post-production of co-productions shall be done in either India or China, unless it is technically impos-sible to do so in either of the countries, in which case the processing and post-production in a country not participating in the co-production may be authorized by the competent authorities of both coun-tries.

ARTICLE 6 Film Languages

6.1 The original soundtrack of each audio vi-sual co-production shall be made in Hindi, or any other Indian language or dialect, or in Chinese or English, or in any combina-




tion of those permitted languages.

6.2 Dialogue in other languages may be included in the audio visual co-production, as the script requires.

6.3 The dubbing or subtitling into one of the permitted languages of India or into the language of China shall be carried out in India, or in China; and that in English language be discussed and decided by the co-producers.

ARTICLE 7 Film Negatives

Two negatives, or at least one negative and one duplicate negative, shall be made of all co-produced fi lms. Each co-producer shall be entitled to make a further duplicate or prints there from. Each co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the co-producers themselves. The storage of the original negative shall be as mutually decided by the co-producers.

ARTICLE 8 Temporary Entry into the

Country

Both Contracting Parties in accordance with their domestic laws shall facilitate:

(a) entry and short stay in either of the two countries for producers, writers, directors, technicians, actors and other personnel,

(b) importing of equipment, props, fi lm stocks and the like.

ARTICLE 9 Property and Revenues

9.1 Both Contracting Parties jointly own the copyrights of each co-produced fi lm and at the same time it is proportionate to the respective contributions for co-producers to share market revenues.

9.2 The sharing of revenues by the co-produc-ers should, in principle, be proportional to their respective contributions and this should be negotiated and agreed, and specifi ed in the agreement between the co-producers themselves. The respective contribution of each co-producer may be decided mutually on the basis of prin-ciples elaborated in Article 3.

ARTICLE 10 Balanced Contribution

10.1 A general balance should be maintained with regard to both the artistic and tech-nical personnel, including the cast.

10.2 The Joint Commission, established in terms of this Agreement, shall carry out a review to see whether this balance has been maintained and, if this is not the case, shall take measures which it con-siders necessary in order to re-establish such a balance.

ARTICLE 11 Joint Commission

11.1 The Joint Commission shall comprise representatives from Governments of both countries and from the fi lm indus-try of both Contracting Parties.

11.2 The role of the Joint Commission shall be to supervise and review the implementation and operation of this Agreement and to make any proposals considered necessary to improve the implementation of the Agreement.

11.3 The Joint Commission shall be con-vened at the request of either of the Contracting Parties within six months of such a request.

ARTICLE 12 Minority and Majority

Contribution in the Case of Multilateral

Audio visual Co-productions

Subject to the specifi c conditions and limits laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral co-productions, the minority contribution may not be less than 10% and the majority contribution may not exceed 70% of the total cost of the fi lm.

ARTICLE 13 Public Exhibition

13.1 Nothing in this Agreement binds the competent authorities of the Contracting Parties to permit the public exhibition of a fi lm, which has been granted Approved Co-production status.

13.2 Both co-producers shall shoot the fi lm in ac-cordance with the approved script and sub-mit it to respective competent authorities for




examination afterwards. If there is no any essential difference between the completed fi lm and the approved script, the fi lm could be exhibited in India, China or a third country, in accordance with the current laws, rules, regulations and guidelines, governing the same in the respective countries.

ARTICLE 14 Export to a Third Country

When a co-produced fi lm is exported to a country, which has quota limitations:

a) In principle, the co-produced fi lm shall be included in the quota of the country of the majority investment;

b) If both co-producers have made an equal contribution, co-producers of both sides shall decide the quota in question through friendly consultation, so that the co-produced fi lm can be included in the quota of the country that can make better arrangements for the export of the fi lm.

c) If diffi culties still exist, the co-produced fi lm shall be included in the quota of the country of which the director is a national.

ARTICLE 15 Credits

15.1 A co-produced fi lm shall when shown, be identifi ed as a “India-China Audio -visual Co-production” or “China-India Audio-visual Co-production” according to the origin of the majority co-producer or in accordance with an agreement between co-producers.

15.2 Such identifi cation shall appear in the credits, in all commercial advertising and promotional materials and when-ever this co-production is shown.

ARTICLE 16 Entry in International

Film Festivals

16.1 In the event of presentation at interna-tional fi lm festival, unless the co-pro-ducers agree otherwise, a co-production shall be entered by the country of the majority co-producer or, in the event of equal fi nancial participation of the co-producers, by the country of which the director is a national.

16.2 Either of the co-producers may make the co-produced fi lm access to inter-national fi lm festivals by notifying the other co-producer in advance.

ARTICLE 17 Settlement of Disputes

Any dispute between the Contracting Parties arising out of the interpretation and imple-mentation or application of this Agreement shall be settled consensually through consultation and negotiation and shall not be referred for resolution to any national or International tribunal or a third party.

Article 18 Amendment

This Agreement may be amended at any time by the mutual consent of the Contract-ing Parties through the exchange of notes between the Contracting Parties through the diplomatic channel.

ARTICLE 19 Entry into Force, Duration and

Termination of the Agreement

19.1 This Agreement shall come into force when each Party has informed the other that its internal ratifi cation procedures have been completed. This Agreement shall come into effect on the later date of these two notifi cations.

19.2 This Agreement shall be valid for a period of three years from the date of its entry into force; a tacit renewal of this Agreement for the periods shall take place unless one or the other Party gives written notice of termination six months before the expiry date.

19.3 Co-productions which have been rec-ognized by the competent authorities of the Contracting Parties and which are in progress at the time of notice of termination of this Agreement by either Contracting Party shall continue to benefi t fully until completion from the provisions of this Agreement. After expiry or termination of this Agreement, its terms shall continue to apply to the division of revenues from completed co-productions.




In witness whereof the undersigned, duly authorised by their respective Governments, have signed this Agreement.

Done in at New Delhi on September 18 of 2014 in two originals each in Chinese, Hindi, and Eng-lish language, three versions being equally authentic. In case of any divergence in interpreta-tion, the English text shall prevail.

FOR THE MINISTRY OF INFORMATION AND BROADCASTING OF THE REPUBLIC OF INDIA

FOR THE STATE ADMINISTRATION OF PRESS, PUBLICATION, RADIO, FILM AND TELEVISION OF THE PEOPLE’S REPUBLIC

OF CHINA

SIGNATURE SIGNATURE

Annex

Annex to Agreement On Audio Visual Co-production Between the State Administration of Press, Publication, Radio, Film and Televi-sion of the People’s Republic of China and the Ministry of Information and Broadcasting of the Republic of India (Rules of Procedure for Applications for Approval of Co-production Status Under This Agreement)

(This Annex is for administrative purposes and is not part of the Audio -visual Co Pro-duction Agreement between the the State Administration of Press, Publication, Radio, Film and Television of the People’s Republic of China and the Ministry of Information and Broadcasting of the Republic of India.)

1. Applications for qualifi cation of a fi lm for audio visual co-production benefi ts under this Agreement for any co-production must be made simultaneously to both competent authorities at least sixty days before shooting begins.

2. Co-Producers from both Contracting Par-ties shall submit the proposals to their competent authorities respectively for approval. Both competent authorities shall, in accordance with relevant guidelines of the respective country, communicate and negotiate with each other within thirty days of the submission of the complete documentation about the approval of Co-production status.

3. The following documents shall be submitted:3.1 The fi nal script and synopsis;3.2 Documentary proof of having legally

acquired the rights to produce and exploit the co-production and that the copyright for the audio-visual co-pro-duction has been legally acquired;

3.3 A copy of the co-production contract signed by the two co-producers.

The contract shall include:

a. The title of the audio-visual co-production;

b. The name of the author of the script, or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a fi lm from the author/legal heirs may be attached;

c. The name of the director;

d. The budget;

e. The fi nancing plan;

f. A clause establishing the sharing of revenues and markets;

g. A clause detailing the respective shares of the co-producers in any over or under expenditure, which shares shall in principle be proportional to their respective contributions;

h. A clause stating that the competent authorities have to be informed if the




percentage of the contribution of a co-producer changes subsequent to the approval of the competent authorities; in any case, the contribution may not be less than the minimum contribution agreed in Article 3;

i) A clause stating that audio visual productions co-produced under this Agreement may be publicly exhibited in either country in accordance with prescribed rules/procedures;

j) A clause recognising that admission to benefi ts under this Agreement does not constitute a commitment that competent authorities in either country will grant a license to permit public exhibition of the audio visual co-production;

k) A clause prescribing the measures to be taken where:

(i) after full consideration of the case, the competent authorities in either country refuse to grant the benefi ts applied for;

(ii) the competent authorities prohibit the exhibition of the audio visual co-production in either country or its export to a third country;

(iii) either one or the other Party fails to fulfi ll its commitments;

l) the period when shooting is to begin;

m) a clause stipulating that the majority co-producer shall take out an insur-ance policy as mutually decided by the co-producers; and

n) a clause providing for the joint owner-ship of copyright for co-producers and at the same time it is proportionate

to the respective contributions for co-producers to share market revenues.

3.4 The distribution contract, where it has already been signed;

3.5 A list of the creative and technical personnel indicating their nationali-ties and, in the case of performers, the roles they are to play;

3.6 The production schedule;

3.7 The detailed budget identifying the expenses to be incurred by each co-producer in each country; and

3.8 All contracts and other relevant fi nan-cial documentation for all participants in the fi nancial structure.

4. The competent authorities can demand any further documents and all other ad-ditional information deemed necessary, as to consider the co-production application.

5. In principle, the fi nal shooting script (in-cluding the dialogue) should be submitted together with all other necessary docu-ments to the competent authorities prior to the commencement of shooting for fi nal approval.

6. Amendments, including the replacement of a co-producer, may be made in the origi-nal contract, but they must be submitted for approval by the competent authorities before the audio visual co-production is fi nished. The replacement of a co-producer may be allowed only in exceptional cases and for reasons satisfactory to both the competent authorities.

7. The competent authorities will keep each other informed of their respective deci-sions.




The Government of the Republic of India and the Government of the French Republic (hereinafter referred to as ‘the Parties’),

CONSIDERING the Convention on the Protection and Promotion of the Diversity of Cultural Expressions and its ratifi cation by India on 15th December, 2006 and by France on 18th December, 2006,DESIRING to strengthen the relationship between India and France concerning fi lm production,HAVE AGREED AS FOLLOWS:

Article 1

For the purpose of this Agreement:‘Film’ means feature length fi lm a. including animation and documentary fi lm which complies with the laws and rules in force in each country and which is intended to be fi rst shown in cinema theatres. Both the Parties would under this Agreement also encourage the development of Co-Production projects for short fi lms for which there is an

expectation for public exhibition, with or without access to Public support;

“Competent Authority” means:b.

For India, the Ministry for Information and Broadcasting;For France, the Centre national du cinema et de l’image animée (CNC).

The Parties shall inform each other if the competent authorities are replaced by others.

Article 2

Subject to the approval of both competent 1. authorities, a fi lm Co-produced in compliance with this Agreement shall be deemed to be a national fi lm in the territory of each Party and shall thus be fully entitled to all the benefi ts which are granted under the laws and regulations in force in the territory of each Party.

The competent authority of each Party 2. shall provide to the competent authority of the other Party a list of provisions concerning these benefi ts.

FRANCEAGREEMENT ON FILM CO-PRODUCTION BETWEEN THE

GOVERNMENT OF THE REPUBLIC OF INDIA AND THE

GOVERNMENT OF THE FRENCH REPUBLIC.




If the provisions concerning these benefi ts are changed in any way by either Party, the competent authority of that Party shall inform the competent authority of the other Party of the details of such change.The above mentioned benefi ts shall accrue 3. solely to the producer of the Party which grants them.

In order to be approved as a Co-Production 4. under this Agreement, the fi lm must:

- in France, apply for Co-Production clearance before the shooting starts, and receive fi nal approval from the competent authority no later than 4 (four) months after its release in France;

- in India, apply for Co-Production clearance before the shooting starts, and receive fi nal approval from the competent authority no later than 4 (four) months after its completion in India.

The application for such approval shall comply with the procedures set forth by each Party and satisfy the minimum requirements set forth in Annexure to this Agreement.The competent authorities of the Parties shall exchange all information concerning the approval, rejection, change or withdrawal of any application received for approval for Co-Production.Before an application for approval is rejected, the competent authorities of the Parties shall consult with each other.Once the competent authorities of the Parties have approved the Co-Production of a fi lm, such approval may not be later revoked without the consent of competent authorities of the Parties.The approval of Co-Production by the competent authorities of the Parties shall not be related in any way to the fi lm rating systems of either Party.

Article 3

In order to qualify for the approval for 1. Co-Production, the producer shall have the necessary capabilities to produce the concerned fi lm. The Parties are not

responsible or liable for the credentials of either of the Co-producers.

Each of the producers must satisfy the 2. following additional conditions:

The president(s), director(s) or a. manager(s), must be citizen of India, France or the European Union. Persons who do not have the citizenship of the aforesaid countries but can demonstrate their domicile or permanent residence therein will be deemed to be citizens of India or France within the meaning of this subparagraph.

The producer must not be controlled b. legally or effectively by one or more citizens of any country other than India, France or the EU countries.

Artistic and technical participants in the 3. production of the fi lm shall be citizens of India, France or the EU countries. Participants who do not have the citizenship of the aforesaid countries but can demonstrate their domicile or permanent residence therein will be deemed to be citizens of India or France within the meaning of this subparagraph.

Actors who do not have the aforesaid citizenship may participate in a Co-Production in the event that the competent authorities of the Parties so approve, after consideration of the production needs of the fi lm.

Article 4

Studio fi lming, location shooting (exterior or interior) and laboratory work shall in principle be carried out in the territory of either Party. Outdoor shooting in third countries may be permitted, subject to the consent of the competent authorities of the Parties, provided that it is necessary for the scenario or the acting.

Article 5

The proportion of the respective fi nancial 1. contributions of the Co-producers of each party to the production of the fi lm shall be decided by arrangement between the




Co-producers, and shall be between 20% (twenty percent) to 80%(eighty percent) of the fi nal production costs of the fi lm. Notwithstanding the above, in exceptional circumstances and subject to the approval of the competent authorities of both Parties, the 20% threshold may be reduced to 10% taking into account the artistic and technical collaborations of the Co-producer(s) of each party.

In principle, the technical and artistic 2. contribution of the Co-producer of each Party shall be in the same proportion as its fi nancial contribution under normal circumstances. However, in exceptional cases where the approval of the competent authorities of both parties has been obtained, these percentages shall be between 10% and 90 %.

Article 6

All producers 1. shall be the joint owners of all the tangible and intangible elements of the fi lm.

All materials shall be stored at a mutually 2. approved laboratory under the joint name of the producers.

Article 7

For Co-Productions approved under this Agreement, each Party shall facilitate, in accordance with the domestic law in force in its territory:

the entry and temporary residence a. in its territory for the technical and artistic personnel of the other Party who participate in the production of the fi lm;

the import into, and export out of b. its territory of technical equipment and other material necessary to the coproduction (including fi lm, technical equipment, costumes, accessories, publicity material) by the Co-producer of the other Party.

Article 8

Credit titles, trailers and all publicity 1. material of the fi lm Co-Productions shall

state that the fi lm is a Co-Production between India and France.

For the purpose of entry into different a. fi lm festivals, the Co-producers shall decide mutually.

The fact that a fi lm is a Co-Production b. shall also be mentioned when it is submitted to a fi lm festival.

Article 9

The sharing of revenues by the Co-producers should, in principle, be in proportion to their respective contributions and this should be specifi ed in the agreement itself. The respective contribution of each Co-producer may be decided mutually on the basis of principles elaborated in Article 5.

Article 10

The competent authoritie1. s of both the Parties acknowledge that a fi lm Co-produced in compliance with this Agreement may also be approved for Co-Production with the producers of a third country with which either Party has entered into a fi lm Co-Production treaty.

The conditions of approval of such fi lm as a 2. Co-Production shall be determined in each individual case by competent authorities.

Article 11

A joint com1. mission (hereinafter referred to as the ‘Joint Commission’) consisting of representatives of the competent authorities of both Parties and experts in related fi elds shall be established for the purpose of facilitating the implementation of this Agreement or recommending amendments thereto.

During the effective period of this 2. Agreement, the Joint Commission shall be convened in principle every 2-3 years, alternately in India and France. Extraordinary sessions of the Joint Commission may also be convened at the request of either Party in the event of changes in the laws and regulations applicable to the fi lm industry or major obstacles (in particular, imbalance in




contribution) to the functioning of this Agreement.

During its meeting sessions, the Joint 3. Commission shall review whether an overall balance has been achieved in the contributions from the two Parties and shall implement the necessary measures in order to correct any imbalance.

If an imbalance in contributions has 4. occurred and a session of the Joint Commission is not convened expeditiously in order to review the measures to restore balance, both competent authorities shall abide by the principle of reciprocity for each fi lm in approving Co-Productions.

Article 12

This Agreement may be amended by the mutual consent of the Parties through the exchange of notes between the Parties through the diplomatic channel.

Article 13

Any dispute between the Parties arising out of the interpretation or implementation of

this Agreement shall be settled consensually through consultation and negotiation and shall not be referred for resolution to any national or international tribunal or a third party.

Article 14

This Agreement shall come into force after 1. each Party has informed the other Party through offi cial diplomatic channels that its internal ratifi cation procedures have been completed.

This Agreement shall remain in force 2. initially for a period of 2 (two) years from the date of its entry into force, and then shall be automatically renewed for successive periods of 2 years, unless written notice is otherwise given by either Party to the other Party at least 3 (three) months before the expiry of the relevant period.

Unless both Parties decide otherwise, 3. the termination of this Agreement shall not affect the rights and duties of the Parties in relation to fi lm Co-Productions already approved in accordance with this Agreement.

In witness whereof, the undersigned being duly authorized thereto, have signed this Agreement.

Done at ____________, on this day of _____________, in two originals each in English, French and Hindi, all versions being equally valid.

For Government of

Republic of INDIA

For the Government of

FRENCH Republic




Annexure to the Co-Production Agreement

Application Process

In order to implement the provisions of this Agreement, the producers established in both countries must, before shooting commences, submit an application for coproduction status and attach the documents listed below:

a copy of the documentation concerning -the purchase of the copyright for the commercial exploitation of the work ;

a synopsis including concrete information -on the theme and contents of the fi lm ;

a list of the technical and artistic -contributions from each of the countries involved ;

a work plan stating the periods and -locations of principal photography on a weekly basis for studio and outdoor shooting ;

a budget including a detailed fi nancing -plan ;

a production schedule -

the coproduction contract made between -the producers ;

and all the documentation that the -competent authorities require to conduct the technical and fi nancial evaluation of the project.

The competent authority of the party with smaller contribution shall decide on approval after it has received the opinion of the competent authority of the party with greater fi nancial contribution.




GERMANYAGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC

OF INDIA AND THE GOVERNMENT OF THE FEDERAL

REPUBLIC OF GERMANY ON AUDIO VISUAL CO-PRODUCTION.

The Government of the Republic of India and the Federal Republic of Germany (hereinafter jointly referred to as the “Contracting Parties”); Considering that audio-visual Co-Productions can signifi cantly contribute to the development of the fi lm industry and to an intensifi cation of the cultural and economic exchange between the two countries; Resolved to stimulate cultural and economic co-operation between the Republic of India and the Federal Republic of Germany; Desiring to create conditions for good relations in the audio-visual area, particularly for the Co-Production of fi lms and TV and video productions; Mindful of the fact that the quality of Co-Productions can help to expand the production of TV and video productions of both countries;Have agreed as follows

ARTICLE 1

Defi nition of “audio-visual Co-Production” For the purpose of this Agreement, an “audiovisual Co-Production” is a project irrespective of length, including animation and documentary productions, produced in any format, for exploitation in theatres, on television, videocassette, videodisc, CD-ROM, DVD or by any other form of distribution. New forms of audiovisual production will be included in this Agreement, through the exchange of notes between the Contracting Parties.

ARTICLE 2

Competent authoritiesThe competent authorities responsible 1. for the implementation of this Agreement shall be:

On behalf of the Republic of India , the a. Ministry of Information and;




Broadcasting on behalf of the Federal b. Republic of Germany, the Federal Offi ce of Economics and Export Control (BAFA).

Co-Productions falling within the scope c. of this Agreement shall be subject to the approval of the competent authorities.

The Contracting Parties shall inform each 2. other if the competent authorities are replaced by others.

ARTICLE 3

Approval as national fi lmsFilms, which are produced within the 1. framework of this Agreement, shall be deemed national fi lms.

These fi lms shall be entitled to claim all 2. state support benefi ts available to the fi lm and video industries and the privileges granted by the provisions in force in the respective countries.

ARTICLE 43.

Conditions for obtaining approval of Co-

Production status

Any benefi ts under this Agreement shall 1.

be available for the Co-Production only

when investment of fi nance, material and

management including creative and other

inputs is not below 20 % (twenty percent)

of the total cost coming from the Co-

producer of one country.

The Co-producers of a fi lm shall have their 2.

principal offi ce or a branch offi ce in the

territory of one of the Contracting Parties.

None of the Co-producers shall be linked

by common management, ownership or

control.

Technical and artistic personnel are those 3.

persons who, in accordance with the

domestic law in force in their own country,

are recognized as makers of audio-visual

productions, in particular screenwriters,

directors, composers, editors, directors

of photography, art directors, actors and

sound technicians. The contribution of

each of these persons shall be evaluated

individually.

As a rule, the contribution includes at least 4.

one leading actor, one supporting actor

and/or one qualifi ed technical staff person,

in addition to the one person as referred to

in paragraph (3) provided that two qualifi ed

technical staff persons may substitute for

one leading actor.

The Co-producers in either of the two 5.

countries shall satisfy themselves about

each other’s capability, including their

professional knowledge, organizational

capability, fi nancial backing and

professional reputation. The Contracting

Parties are not responsible or liable for the

credentials of either of the Co-producers.

The company carrying out the Co-6.

Production shall provide evidence that

the primary business of that company

is audiovisual (fi lm, television and video)

production.

ARTICLE 5

Participants

The persons participating in the production 1.

of a fi lm shall fulfi ll the following

requirements:

As regards the Republic of India , they a.

shall be –

Nationals/Citizens of the Republic (i)

of India or

Permanent residents of India(i)

As regards the Federal Republic of b.

Germany, they shall be

Germans within the meaning of (i)

the Basic Law

Persons who are rooted in the (ii)

German culture and have their

legal residence in the territory of

the Federal Republic of Germany;




Nationals of a member state of (iii)

the European Union; or

Nationals of another party to (iv)

the Agreement on the European

Economic Area (EEA) of 2 May

1992.

Participants in the Co-Production as 2.

defi ned in sub paragraphs (a) and (b) must

at all times throughout the production

retain their national status, and may not

acquire or lose such status at any point

during the course of production activity.

Should the fi lm so require, the participation 3.

of professionals who are not citizens of

one of the Co-producing countries may

be permitted, but only in exceptional

circumstances, and subject to agreement

between the competent authorities of both

Contracting Parties.

ARTICLE 6

Film Negatives and Languages

Two negatives, or at least one negative and 1.

one duplicate negative, shall be made of all

Co-produced fi lms. Each Co-producer shall

be entitled to make a further duplicate

or prints there from. Each Co-producer

shall also be entitled to use the original

negative in accordance with the conditions

agreed upon between the Co-producers

themselves.

The original soundtrack of each Co-2.

Production fi lm shall be made in Hindi or

any other Indian language or dialect or, in

English or German or in any combination

of those permitted languages. Dialogue in

other languages may be included in the

Co-Production, as the script requires.

The dubbing or subtitling into one of the 3.

permitted languages of the Republic of

India or into German shall be carried out

in the Republic of India , or in the Federal

Republic of Germany or in another Member

State of the European Union or in another

Contracting State of the Agreement on

the European Economic Area respectively.

Any departure from this principle must be

approved by the competent authorities.

ARTICLE 7

Entry in International Festivals

The majority Co-producer shall normally 1.

enter Co-produced fi lms in international

festivals.

Films produced on the basis of equal 2.

contributions shall be entered as a fi lm

of the country of which the director is a

national, provided that the director is not

from a country contemplated in Article

5(1) (a) (iv), in which case the fi lm shall be

submitted as a fi lm of the country of which

the lead actor is a national, subject to the

agreement of the competent authorities of

both Contracting Parties.

ARTICLE 8

Minority and majority contribution in the case

of multilateral Co-Productions

Subject to the specifi c conditions and limits

laid down in laws and regulations in force in the

Contracting Parties, in the case of multilateral

Co-Productions, the minority contribution may

not be less than 10% (ten per cent) and the

majority contribution may not exceed 70%

(seventy per cent) of the total cost of the fi lm.

ARTICLE 9

Contributions of the producers

Notwithstanding the provisions of this 1.

Agreement and in the interest of bilateral

Co-Productions, even those fi lms, which

are produced in one of the two countries

and where the minority contribution is

limited to fi nancial investment, may be

granted Co-Production status according

to the Co-Production agreement. In such

a case, the minority contribution may not

be less than 20% (twenty per cent) of the

fi nal total cost of the fi lm.




The granting of Co-Production status to 1.

each individual production of this kind

shall be subject to the prior approval by

the competent authorities.

The expenses incurred in the territories of 2.

the Contracting Parties for the promotion of

such Co-Productions shall be compensated

within two years of the completion of the

project.

ARTICLE 10

Balanced contribution

A general balance should be maintained 1.

with regard to both the artistic and

technical personnel, including the cast, and with regard to the fi nancial investment and facilities (studios, laboratories, and postproduction).

The Joint Commission, established in 2.

terms of article 12, shall carry out a review

to see whether this balance has been

maintained and, if this is not the case,

shall take measures, which it considers

necessary in order to re-establish such a

balance.

ARTICLE 11

Credits

A Co-Production fi lm and the promotional

materials associated with it shall include

either a credit title indicating that the fi lm is

“an offi cial German-Indian Co-Production”

or “an offi cial Indian German Co-Production”

or where relevant a credit which refl ects

the participation of the Federal Republic of

Germany, Republic of India and the country of

the third co producer.

ARTICLE 12

Joint Commission

The Joint Commission shall be composed 1.

of representatives from Government

and from the fi lm, television and video

industries of both Contracting Parties.

The role of the Joint Commission shall be 2.

to supervise and review the implementation

and operation of this Agreement and to

make any proposals considered necessary

to improve the implementation of the

Agreement.

The Joint Commission shall be convened, 3.

whether by meeting or otherwise, at the

request of either of the Contracting Parties

within six months of such a request.

ARTICLE 13

Temporary Entry into the countryFor approved Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country:


The import into and export from b. its territory of technical and other fi lmmaking equipment and materials by producers of the other Contracting Party.

ARTICLE 14

AmendmentThis Agreement may be amended by the mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through the diplomatic channel.

ARTICLE 15

Settlement of DisputesAny dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation.

ARTICLE 16

Entry into Force, Duration and Termination

This Agreement shall enter into force on 1.

the date of signature.

This Agreement including the annex, which 2.

forms an integral part of this agreement,

shall remain in force for an unlimited

period of time, unless terminated in terms

of paragraph.




Either Contracting Party may terminate 3.

this Agreement by giving six months’

written notice in advance of such intention

to the other Contracting Party through the

diplomatic channel.

Termination of this Agreement shall have no 4.

effect on the completion of Co-Productions

approved prior to its termination.

Done at Berlinon this day of 16th of February

2007 in two originals each in English, German

and Hindi, all three versions being authentic.

In case of any divergence of interpretation, the

English text shall prevail.

(Rules Of Procedure for applications for

approval of Co-Production status under this

agreement)

Applications for qualifi cation of a fi lm 1.

for Co-Production benefi ts under this

Agreement for any Co-Production must be

made simultaneously to both competent

authorities at least thirty (30) days before

shooting begins.

The competent authority of both Parties 2.

shall communicate their proposal to the

other competent authority within twenty

(20) days of the submission of the complete

documentation as described in paragraph

3 below.

Documentation submitted in support of an 3.

application shall consist of the following

items, drafted in German in the case of

Germany and in English in the case of

India :

3.1 The fi nal script and synopsis; Co-

Productions under this Agreement

shall be shot in Germany or India,

as the case may be, in accordance

with the guidelines of the respective

country; The Parties shall inform each

other from time to time of relevant

guidelines and any changes thereto.

3.2 documentary proof of having legally

acquired the rights to produce and

exploit the Co-Production and that the

copyright for the Co-Production has

been legally acquired;

3.3 a copy of the Co-Production contract

signed by the two Co-producers.

The contract shall include

The title of the Co-Production;a.

The name of the author of the script, or b.

that of the adaptor if it is drawn from a

literary source; necessary permission

for adapting the literary work into a

fi lm from the author/legal heirs may

be attached;

The name of the director (a substitution c.

clause is permitted to provide for his/

her replacement if necessary);

The budget;d.

The fi nancing plan;e.

A clause establishing the sharing f.

of revenues, markets, media or a

combination of these;

A clause detailing the respective g.

shares of the Co-producers in any over

or under expenditure, which shares

shall in principle be proportional to

their respective contributions, although

the minority Co-producer’s share in

any over expenditure may be limited

to a lower percentage or to a fi xed

amount providing that the minimum

proportion permitted under Article 9 of

the Agreement is respected;

A clause stating that the competent h.

authorities have to be informed if the

percentage of the contribution of a co-

producer changes subsequent to the

approval of the competent authorities;

in any case, the contribution may not

be less than the minimum contribution

agreed in

A clause stating that fi lms Co-i.

produced under this Agreement may

be publicly exhibited in either country

in accordance with prescribed rules/

procedures;




A clause recognizing that admission j.

to benefi ts under this Agreement does

not constitute a commitment that

governmental authorities in either

country will grant a license to permit

public exhibition of the Co-Production;

A clause prescribing the measures to k.

be taken where:

After full consideration of the case, the l.

competent authorities in either country

refuse to grant the benefi ts applied

for;

The competent authorities prohibit m.

the exhibition of the Co-Production in

either country or its export to a third

country;

Either one or the other Party fails to n.

fulfi ll its commitments;

The period when shooting is to begin;o.

A clause stipulating that the majority p.

Co-producer shall take out an

insurance policy covering at least

“all production risks” and “all original

material production risks”; and

A clause providing for the sharing of q.

the ownership of copyright on a basis

that it is proportionate to the respective

contributions of the Co-producers.

3.4 the distribution contract, where it has

already been signed, or a draft if it has

yet to be concluded;

3.5 a list of the creative and technical

personnel indicating their nationalities

and, in the case of performers, the

roles they are to play;

3.6 the production schedule;

3.7 the detailed budget identifying the

expenses to be incurred by each

country; and

3.8 all contracts and other relevant

fi nancial documentation for all

participants in the fi nancial structure.

The competent authorities can demand any 4.

further documents and all other additional

information deemed necessary.

In principle, the fi nal shooting script 5.

(including the dialogue) should be

submitted to the competent authorities

prior to the commencement of shooting.

Amendments, including the replacement of 6.

a Co-producer, may be made in the original

contract, but they must be submitted for

approval by the competent authorities

before the Co-Production is fi nished. The

replacement of a Co-producer may be

allowed only in exceptional cases and for

reasons satisfactory to both the competent

authorities.

The competent authorities will keep 7.

each other informed of their respective

decisions.




The Government of the Republic of india and the Government of Italian Republic, hereinafter referred to as the parties,CONSIDERING that it is desirable to establish a framework for the development of their audiovisual relations and particularly for fi lm television and video Co-Productions;CONSCIOUS that quality Co-Productions can contribute to the further expansion of the fi lm, television and video production and distribution industries of both countries as well as to the development of their cultural and economic exchanges;CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries;Have agreed as follows:

ARTICLE 1

In this Agreement, unless the Agreement otherwise requires:

A Co-Production is a fi lm including (i) feature fi lms, documentaries, science fi lms, animation fi lms and commercials, irrespective of length, either on fi lm, videotape

or videodisc, which can be shown in cinemas, on television or on video recorders jointly’ invested in and produced by producers from the two countries and made in accordance with the terms of recognition given by the competent authorities of India and Italy under this Agreement. New forms of audio-visual production and distribution shall be included in the present Agreement by exchange of notes between the Parties.

Co-Production projects (ii) undertaken under the present Agreement must be recognized by the following authorities, referred to hereinafter as the competent authorities:

In Italy- by the Ministry of Cultural a. Properties and Activities, Department of Entertainment and Sport, General Management of Cinema; and

In India by the Ministry of Information b. and Broadcasting.

ITALYAUDIO VISUAL CO-PRODUCTION AGREEMENT BETWEEN

THE REPUBLIC OF INDIA AND THE GOVERNMENT OF THE

ITALIAN REPUBLIC.




Co production produced under (iii) the terms of this Agreement shall be taken in either of the two countries as National Production with every benefi t available as National Production but will abide by applicable national law for distribution and production. These benefi ts, however, accrue to the producer from the country, which grants them.

ARTICLE 2

The co- producers in either (i) of the two countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, fi nancial backing and professional reputation.

The Government of India and Italy (ii) shall in no way be responsible or liable with regard to satisfaction of either of the co producers.

ARTICLE 3

Any benefi ts under this Agreement (i) shall be available for co production only when investment of fi nance, material and management including creative and other inputs not below 20% of the total cost comes from Co-producer of one country provided always that specifi c percentage contribution will be decided amongst producers themselves.

Notwithstanding anything stated (ii) in above paragraph, the two parties may at any time decide jointly in writing to make appropriate changes, in percentage, as maybe deemed fi t.

ARTICLE 4

The producers of a Co-Production (i) shall be citizens or permanent resident either of Italy or India subject to any sort of compliance

of the obligations created by European Union Italy as a member.

In the event of dire need of Co-(ii) Production, persons other than citizen or permanent resident as stated hereinabove are permissible to be engaged without losing the character of Co-Production in case advance written permission from both the countries is obtained after explaining the reasons of inclusion of such person.

ARTICLE 5

Live action shooting and animation (i) works such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out alternatively in Italy or in India.

Location shooting, exterior (ii) or interior, in a country not participating in the Co-Production however, is acceptable at discretion if the script or the action so requires and if technicians from Italy and India take part in the shooting.

The laboratory work shall be done (iii) in either Italy or India, unless it is technically impossible to do so, in which case the laboratory work in a country not participating in the Co-Production can be permitted by the competent authorities of both countries.

ARTICLE 6

The Co-Production shall have the (i) original soundtracks in English or Italian or in other Indian language or dialect, which can further be dubbed in any of these languages.

In the event, if script so desires, (ii) any other language can be used for stray dialogues with permission from authorities




It will be necessary that the (iii) dubbing or sub-titling of the Co-Production will be done or performed either in India or Italy. Dubbing or sub-titling in Indian languages should be performed in India and dubbing or sub-titling in Italian in Italy and dubbing or sub-titling in English could be performed in Italy or India depending upon the agreement between Co-producers.

ARTICLE 7

A Co-produced fi lm shall have (i) two negatives or one negative and one dupe negative, or as agreed between the two Co-producers, with two international sound tracks for making copies. Each Co-producer shall own one good quality print, one dupe positive and one international sound track and have the right to make copies. Moreover with the approval of the Co-producers either Co-producer may use the footage from the above-mentioned material for other purposes. Furthermore, each Co-producer shall have access to the original production material in accordance with the conditions agreed upon between the Co-producers.

ARTICLE 8

Both Italy and India will facilitate (i) entry and short stay in either of the two countries for directors, actors, producers, writers, technicians and other personnel prescribed in each co production contract as per the applicable laws and importing of equipment shall also be in accordance with the applicable laws.

ARTICLE 9

The sharing of revenues by he (i) co-produces shall, in principle, be

proportional to their respective contributions and be specifi es in the agreement between the co producers. The respective contribution of each Co-producer may be decided mutually on the basis of principles elaborated in Article 3.

ARTICLE 10

The minority investment Co-(i) producer shall pay any balance outstanding on his contribution to the majority investment Co-producer within sixty (60) days following delivery of all the materials required for the production of the version of the fi lm in the language of the minority country. The majority investment Co-producer will have the same obligations towards the minority investment Co-producer.

Failure to meet this requirement (ii) shall entail the loss of benefi t of the Co-Production. This requirement will invariably be refl ected in the contract drawn up between theCo-producers to enable projects to be recognized under this Agreement.

ARTICLE 11

Approval of a proposal for the (i) Co-Production of a fi lm by the competent authorities of both countries is in no way binding upon them in respect of the granting of permission to show the fi lm thus produced.

ARTICLE 12

When a Co-produced fi lm is (i) exported to a country, which has quota limitations:

in principle, the Co-produced fi lm shall a. be included in the quota of the country of the majority investment;




if both Co-producers have made an b. equal investment, Co-producers of both sides shall decided the quota in question through mutual consultation, so that the Co-produced fi lm can be included in the quota of the country that can make better arrangements for the export of the fi lm;

if diffi culties still exist, the co produced c. fi lm shall be included in the quota of the country of which the director is a national

Notwithstanding the above, in the (ii) event that one of the Co-producing countries enjoys unrestricted entry of its fi lms into a country that has quota regulations, aCo-Production under this Agreement shall be entitled as any other national production of that country to unrestricted entry into the importing country if that country so agrees.

ARTICLE 13

A Co-Production shall when shown, (i) be identifi ed as an Italy-India Co- Production; or India-Italy Co-Production according to the origin of the majority Co-producer or in accordance with an agreement between Co-producers.

Such identifi cation shall appear (ii) in the credits, in all commercial advertising and promotional material and whenever the Co-Production is shown.

ARTICLE 14

In the event of presentation at (i) international fi lm festivals, and unless the Co-producers agree otherwise, a Co-Production shall be entered by the country of the majority investment Co-producer or, in the event of equal fi nancial participation of the Co-producers, by the country of which the director is a national.

Prizes, grants, incentives and (ii) other benefi ts awarded to the cinematographic or audiovisual works may be shared between the Co-producers, in accordance with what has been established in the Co-Production contract and in conformity with applicable laws in force.

All prizes which are not in cash (iii) form, such as honorable distinctions or trophies awarded by third countries, for cinematographic and audiovisual works produced according to the norms established by this agreement, shall be kept in trust by the majority Co-producer or according to terms established in the Co-Production contract/agreement.

ARTICLE 15

The competent authorities of both (i) countries shall jointly establish, through a subsequent exchange of notes the rules of procedure for Co-Productions, taking into account the laws and regulations in force in Italy and in India.

ARTICLE 16

No restrictions shall be placed (i) on the import, distribution and exhibition of Indian fi lm, television and video productions in Italy or that of Italian fi lm, television and video productions in India other than those contained in the legislation and regulations in force in each of the two countries, including in case of Italy the obligation deriving from the norms of the European Union insofar as the free circulation of goods among Italy and other European Union countries in concerned, will be respected.




ARTICLE 17

Any difference or dispute (i) regarding the implementation of this Agreement shall be settled by mutual consultation and negotiation. This does not absolve the right of co producers who enter into various contracts to seek legal remedies- such remedies may include conciliation, mediation and arbitration.

The rights arising out of this (ii) Agreement will not be enforceable at the instance of third party (ies) who are not signatory to this Agreement.

An appropriate Joint Commission (iii) may look after the implementation of this Agreement. A meeting of the Joint Commission shall take place in principle once every two years alternately in the two countries. However, it may be convened for extraordinary sessions at the request of one or both authorities, particularly in the case of major amendments to the legislation or the regulations governing the fi lm television and video industries in one country or the other, or where the application of this Agreement present various diffi culties and shall submit to the Authorities in the two countries, for consideration, the necessary amendments in order to resolve any diffi culties arising from the application of this agreement as

well as t improve it in the best interest of both countries. The recommendations of the Joint Commission are not binding on the two Governments.

ARTICLE 18

The present Agreement shall (i) come into force when each Party has informed the other that its international ratifi cation procedures have been completed.

It shall be valid for a period of (ii) three (3) years from the date of its entry into force, a tacit renewal of the Agreement for like periods shall take place unless one or the other Party gives written notice of termination six (6) months before the expiry date.

Co-Productions which have been (iii) recognized by the authorities and which are in progress at the time of notice of termination of this Agreement by either Party shall continue to benefi t fully until completion from the provisions of this Agreement. After expiry or termination of this Agreement, its terms shall continue to apply to the division of revenues from completed Co-Productions.

DONE in three originals at Rome, (iv) this 13th Day of 2005, each in Italian, English and Hindi language, all versions being equally authentic. In case of any divergence in interpretation, the English text shall prevail.

In Witness Whereof, the undersigned, duly authorized thereto by their respective Governments, have signed this Agreement.

For the Government of theRepublic of INDIA

For the Government of ITALIAN Republic




The Government of the Republic of India and the Government of New Zealand (‘the parties’)SEEKING to enhance cooperation between their two countries in the area of fi lm;DESIROUS of expanding and facilitating the Co-Production of fi lms which may be conducive to the fi lm industries of both countries and to the development of their cultural and economic exchanges;CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries;HAVE AGREED as follows:

ARTICLE 1

Defi nitionsFor the purposes of this Agreement

Competent authorities shall be:1.

on behalf of the Republic of India, the a. Ministry of Information and; and

On behalf of the Government of New b. Zealand - to be indicated -

“Co-producer” shall be:2.

as regards the Republic of India:a.

nationals/citizens of the Republic (i) of India;

permanent residents of India; and (ii)

entities which are established and/(iii) or incorporated in India.

as regards the New Zealand - to be b. indicated -

‘Film’ means an aggregate of images, or 3. of images and sounds, embodied in any material, irrespective of length, including animation and docu¬mentary productions, produced in any format, for exploitation in theatres, on tele¬vision, videocassette, videodisc, CD-ROM, DVD or by any other form of distri¬bution. New forms of audiovisual production will be included in this Agreement, through the exchange of notes between the Contracting Parties.

ARTICLE 2

Competent authorities The competent authorities responsible 1. for the implementation of this Agreement shall be as defi ned in Article 1.

NEW ZEALANDAGREEMENT ON AUDIO-VISUAL CO-PRODUCTIONS BETWEEN

THE GOVERNMENT OF NEW ZEALAND AND THE GOVERNMENT

OF THE REPUBLIC OF INDIA.

Th G t f th R bli f I di d ti l / iti f th R bli(i)




Co-Productions falling within the scope 2. of this Agreement shall be subject to the approval of the competent authorities.

The Contracting Parties shall inform each 3. other if the competent authorities are replaced by others.

ARTICLE 3

Recognition as a National fi lm and Entitlement to Benefi tsViews to be indicated later.

ARTICLE 4

Conditions for obtaining approval of Co-Production status

Co-Production fi lms shall require, prior to 1. the commencement of shooting, approval by both the competent authorities. Approvals shall be in writing and shall specify the conditions upon which approval is granted.

In considering proposals for the making of 2. a Co-Production fi lm, both the competent authorities, shall with due regard to their respective policies and guidelines, apply the rules set out in the Annex to this Agreement.

The Co-producers of a fi lm shall have their 3. principal offi ce or a branch offi ce in the territory of one of the Contracting Parties. None of the Co-producers shall be linked by common management, ownership or control.

Technical and artistic personnel are those 4. persons who, in accordance with the domestic law in force in their own country, are recognized as makers of audio-visual productions, in particular screenwriters, directors, composers, editors, directors of photography, art directors, actors and sound technicians. The contribution of each of these persons shall be evaluated individually.

As a rule, the contribution includes at least 5. one leading actor, one supporting actor and/or one qualifi ed technical staff person, in addition to the one person as referred to in paragraph (4) provided that two qualifi ed

technical staff persons may substitute for one leading actor.

The Co-producers in either of the two 6. countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, fi nancial backing and professional reputation. The Contracting Parties are not responsible or liable for the credentials of either of the Co-producers.

The company carrying out the Co-7. Production shall provide evidence that the primary business of that company is audiovisual (fi lm, television and video) production.

The sharing of expenses and revenues 8. shall be as mutually decided by the Co Producers.

ARTICLE 5

ContributionsAny benefi ts under this Agreement shall 1. be available for the Co-Production only when investment of fi nance, material and management including creative and other inputs is not below 20 % (twenty percent) of the total cost coming from the Co-producer of one country. The proportion of the respective contribution of the co producers of the Parties may vary from 20% (twenty percent) to 80% (eighty percent).

Subject to prior approval and in exceptional 2. cases both Competent Authorities may approve Audiovisual Co-Productions where:

the contribution by one Co-producer is a. limited to the provision of fi nance only, in which case the proposed fi nance-only contribution shall be 50% (Fifty per cent) or more of the total budget of the Audiovisual Co-Production; or

Despite falling outside the contribution b. rules, the Competent Authorities consider that the project would further the objectives of this Agreement and should be approved accordingly.




Both the fi nancial contribution, and the 3. performing, technical, craft and creative participation of each Co-producer shall account for at least 20% (twenty per cent) of the total effort in making the Co-Production fi lm.

ARTICLE 6

Minority and majority contribution in the case of multilateral Co-Productions

Subject to the specifi c conditions and limits 1. laid down in laws and regulations in force in the Contracting Parties, in the case of multilateral Co-Productions, the minority contribution may not be less than 10% (ten per cent) and the majority contribution may not exceed 70% (seventy per cent) of the total cost of the fi lm.

Both Competent Authorities shall also 2. look favourably upon co production to be undertaken with any other country linked with India and New Zealand by an offi cial co production agreement.

ARTICLE 7

ParticipantsThe persons participating in the production 1. of a fi lm shall fulfi ll the following requirements:

As regards the Republic of India, they a. shall be -

Nationals/Citizens of the Republic (i) of India or

Permanent residents of India; (ii)

As regards the New Zealand - to be b. indicated –

Participants in the Co-Production as defi ned in sub paragraphs (a) and (b) must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity.

Subject to the approval of the competent 2. authorities:

where script or costs dictates, a. restricted numbers of performers from other countries may be engaged;

in exceptional circumstances, restricted b. numbers of technical personnel from other countries may be engaged

ARTICLE 8

Film Processing, Laboratory work, Negatives and Languages etc.

The processing of fi lm including the 1. laboratory work, digital intermediate, visual and special effects work shall be done in either India or New Zealand unless it is technically impossible to do so, in which case the Competent Authorities of both countries may authorize such work in a country not participating in the co production.

At least 90% (ninety per cent) of the 2. footage included in a Co-Production fi lm shall be specially shot or crated for the fi lm unless otherwise approved by the competent authorities

Two negatives, or at least one negative and 3. one duplicate negative, shall be made of all Co-produced fi lms. Each Co-producer shall be entitled to make a further duplicate or prints there from. Each Co-producer shall also be entitled to use the original negative in accordance with the conditions agreed upon between the Co-producers themselves.

The original soundtrack of each Co-4. Production fi lm shall be made in Hindi or any other Indian language or dialect or, in English or ----- or in any combination of those permitted languages. Dialogue in other languages may be included in the Co-Production, as the script requires.

The dubbing or subtitling into one of the 5. permitted languages of the Republic of India or New Zealand shall be carried out in the Republic of India, or in the New Zealand. Any departure from this principle must be approved by the competent authorities.

Post-release print dubbed into any other 6. language may be carried out in third countries




The soundtrack may contain sections of 7. dialogue in any language in so far as is required by the script.

ARTICLE 9

Location ShootingLive action shooting and animation works 1. such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out either in India or in New Zealand.

The Competent Authorities may approve 2. location shooting in a country other than those of the participating Co-producers if the script or action so requires and if technicians from India and New Zealand take part in the shooting.

Notwithstanding Article 7, where location 3. shooting is approved in accordance with the present Article, citizens of the country in which location shooting takes place may be employed as crowd artists, in small roles, or as additional employees whose services are necessary for the location work to be undertaken.

ARTICLE 10

Entry in International FestivalsThe majority Co-producer shall normally 1. enter Co-produced fi lms in international festi¬vals.

Films produced on the basis of equal 2. contributions shall be entered as a fi lm of the country of which the director is a national, and if this is not possible then the fi lm shall be submitted as a fi lm of the country of which the lead actor is a national, subject to the agreement of the competent authorities of both Contracting Parties.

ARTICLE 11

Export of Co produced FilmWhere a Co-Production is exported to a 1. country that has quota regulations, it shall be included in the quota of the Party:

which is the majority Co-producer;a.

that has the best opportunity of arranging b.

for its export, if the respective contributions of the Co-producers are equal;

of which the director is a national, if any c. diffi culties arise with the application of sub-paragraphs (a) and (b) hereof.

Not withstanding Paragraph 1, in the event 2. that one of the Co-producing countries enjoys unrestricted entry of its fi lms into a country that has quota regulations, a Co-Production undertaken under this Agreement shall be as entitled as any other national production of the above-mentioned Co-producing country to unrestricted entry into the importing country if that above-mentioned Co-producing country so agrees.

ARTICLE 12

Acknowledgements, CreditsA Co-Production fi lm and the promotional material associated with it shall include either a credit title indicating that the fi lm is an ‘Offi cial Indian-New Zealand Co-Production” or an ‘Offi cial New Zealand – Indian Co-Production” or , where relevant, a credit which refl ects the participation of the Republic of India, New Zealand and the country of a third Co-producer.

ARTICLE 13

Temporary Entry into the countryFor approved Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country:


the import into and export from b. its territory of technical and other fi lmmaking equipment and materials by producers of the other Contracting Party.

ARTICLE 14

Permission for Public ExhibitionPermission for public exhibition will be in 1. accordance with local laws in both India and New Zealand.




The approval of Co-Production status 2. under this Agreement will not mean a commitment to permit public exhibition of the Audiovisual Co-Production.

ARTICLE 15

Balanced contributionA general balance should be maintained 1. with regard to both the artistic and technical personnel, including the cast, and with regard to the fi nancial investment and facilities (studios, laboratories, and postproduction).

The Joint Commission, established in terms 2. of Article 16, shall carry out a review to see whether this balance has been maintained and, if this is not the case, shall take measures, which it considers necessary in order to re-establish such a balance.

ARTICLE 16

Joint CommissionThe Joint Commission shall be composed 1. of representatives from the Competent Authorities and from the audio-visual industry of both the contracting parties.

The role of the Joint Commission shall be 2. to supervise and review the operation of this Agreement and to make any proposals considered necessary to improve the effect of the Agreement.

The Joint Commission shall be convened, 3. whether by meeting or otherwise, at the request of either of the Parties within six months of such a request.

ARTICLE 17

Status of AnnexThe Annex to this agreement constitutes 1. an implementing arrangement in respect of this Agreement and shall be read in conjunction with the provisions of this Agreement

Subject to paragraph 2 of Article 18, any 2. modifi cations to the Annex shall be agreed by both the competent authorities. No modifi cations to the Annex shall confl ict with the provisions of this Agreement.

Modifi cations to the Annex shall be 3. confi rmed by the competent authorities in writing and shall take effect on the date they specify.

ARTICLE 18

Entry into ForceEach of the Parties shall notify the other in writing through the diplomatic channel of the completion of any procedure required by its constitutional law for giving effect.

ARTICLE 19

AmendmentSubject to paragraph 2 of this Article, this 1. Agreement may be amended by written agreement between the two parties through an exchange of diplomatic notes. Amendments shall take effect on the date specifi ed in the notes.

Either Party may by diplomatic note notify 2. the other of a change in its competent authority. The change shall take effect on the date specifi ed in the note.

ARTICLE 20

Settlement of DisputesAny dispute between the Contracting Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation.

ARTICLE 21

Duration and TerminationThe term of this Agreement shall be for a 1. period of three years from the date it enters into force and thereafter automatically renewed for further periods of three years.

Either Contracting Party may terminate 2. this Agreement by giving six months’ written notice in advance of such intention to the other Contracting Party through the diplomatic channel.

Termination of this Agreement shall 3. have no effect on the comple-tion of Co-Productions approved prior to its termination.




Done at ______________________-this ____day of ______________, ________in the English and Hindi languages, both texts being equally authentic. In case of any divergence in interpretation, the English text shall prevail.

For the Government ofRepublic of INDIA

For the Government of NEW ZEALAND

Annexure to Agreement between the Government of the Republic of India and the Government of the ____________________ on Audio Visual Co-Productions

(Rules of procedure for applications for approval of Co-Production status under this agreement)

Applications for qualifi cation of a fi lm 1. for Co-Production benefi ts under this Agreement for any Co-Production must be made simultaneously to both competent authorities at least thirty (30) days before shooting begins.

The competent authority of both Parties 2. shall communicate their proposal to the other competent authority within twenty (20) days of the submission of the complete documentation as described in paragraph 3 below.

Documentation submitted in support of an 3. application shall consist of the following items, drafted in _________in the case of _______ and in English in the case of India:

3.1 The fi nal script and synopsis; Co-Productions under this Agreement shall be shot in ____________or India, as the case may be, in accordance with the guidelines of the respective country; The Parties shall inform each other from time to time of relevant guidelines and any changes thereto.

3.2 Documentary proof of having legally acquired the rights to produce and exploit the Co-Production and that the

copyright for the Co-Production has been legally acquired;

3.3 a copy of the Co-Production contract signed by the two Co-producers.

The contract shall include - the title of the Co-Production;a.

the name of the author of the script, or b. that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a fi lm from the author/legal heirs may be attached;

the name of the director (a substitution c. clause is permitted to provide for his/her replacement if necessary);

the budget; d.

the fi nancing plan;e.

a clause establishing the sharing f. of revenues, markets, media or a combination of these;

a clause detailing the respective shares g. of the Co-producers in any over or under expenditure, which shares shall in principle be proportional to their respective contributions, although the minority Co-producer’s share in any over expenditure may be limited to a lower percentage or to a fi xed amount providing that the minimum proportion permitted under Article 9 of the Agreement is respected;

a clause stating that the competent h. authorities have to be informed if the percentage of the contribution of a co- producer changes subsequent to the




approval of the competent authorities; in any case, the contribution may not be less than the minimum contribution agreed in Article 9;

a clause stating that fi lms Co-produced i. under this Agreement may be publicly exhibited in either country in accordance with prescribed rules/procedures;

a clause recognizing that admission to j. benefi ts under this Agreement does not constitute a commitment that governmental authorities in either country will grant a license to permit public exhibition of the Co-Production;

a clause prescribing the measures to k. be taken where:


(ii) the competent authorities prohibit the exhibition of the Co-Production in either country or its export to a third country;


the period when shooting is to begin;l.

a clause stipulating that the majority m. Co-producer shall take out an insurance policy covering at least “all production risks” and “all original material production risks”; and

a clause providing for the sharing of the n. ownership of copyright on a basis that

it is proportionate to the respective contributions of the Co-producers.

3.4 the distribution contract, where it has already been signed, or a draft if it has yet to be concluded;

3.5 a list of the creative and technical personnel indicating their nationalities and, in the case of performers, the roles they are to play;

3.6 the production schedule; 3.7 the detailed budget identifying the

expenses to be incurred by each country; and

3.8 all contracts and other relevant fi nancial documentation for all participants in the fi nancial structure.

The competent authorities can demand any 4. further documents and all other additional information deemed necessary.

In principle, the fi nal shooting script 5. (including the dialogue) should be submitted to the competent authorities prior to the commencement of shooting.

Amendments, including the replacement of 6. a Co-producer, may be made in the original contract, but they must be submitted for approval by the competent authorities before the Co-Production is fi nished. The replacement of a Co-producer may be allowed only in exceptional cases and for reasons satisfactory to both the competent authorities.

The competent authorities will keep 7. each other informed of their respective decisions.




The government of the republic of poland and the government of the republic of india hereinafter referred to as the “Parties”:CONSIDERING it desirable to establish a legal framework for relations regarding audiovisual Co-Production, especially the production of fi lms for the cinema and television, as well as fi lms intended solely for dissemination on analogue or digital data carriers;AWARE that a high quality of Co-Production may encourage the development of enterprises and institutions which produce, distribute and disseminate fi lms and enhance cultural and economic exchange between both States;CONVINCED that such exchange shall strengthen relations between both States;Have agreed as follows:

ARTICLE 1

For the purpose of this Agreement, the 1. term “Co-Production” shall mean a feature fi lm intended for screening in the cinema as the primary fi eld of exploitation, as well as a documentary, educational and animated fi lm, regardless of length, jointly

fi nanced and produced by Co-producers from Poland and India; recorded on fi lm or magnetic tape or on a digital medium; and intended for public dissemination in any way, especially in the cinema, on television or on analogue or digital data carriers. The term “Co-Production” shall also mean a plan to produce and the process of producing such a fi lm.

Each Co-Production undertaken under this 2. Agreement, after it has fulfi lled all the conditions herein, must gain approval from the following Competent Authorities:

In the Republic of Poland – the (i) Minister of Culture and National Heritage,

In the Republic of India – the (ii) Ministry of Information, Radio and Television.

Each Co-Production undertaken (iii) under this Agreement shall be realized and disseminated in accordance with the law in force in Poland and in India.

POLANDAGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC

OF POLAND AND THE GOVERNMENT OF THE REPUBLIC OF

INDIA ON AUDIOVISUAL CO-PRODUCTION.




Unless otherwise provided for (iv) under the laws in force in Poland and India, each Co-Production undertaken under this Agreement shall be regarded a domestic production in each State-Party in order to obtain all present and future benefi ts conferred upon domestic productions in these two States. Nevertheless, such benefi ts shall be due only to Co-producers from the country which confers these benefi ts.

ARTICLE 2

Each Co-producer must possess broad professional experience, good technical organization, considerable organization abilities, strong fi nancial support and a good reputation. These qualities shall be verifi ed by the parties to co-production agreements, and no clause in this Agreement shall give rise to any liability by the Competent Authorities or Governments to conduct such a verifi cation.

ARTICLE 3

The contribution of Co-producers from 1. each State should range from twenty percent (20%) to eighty percent (80%) of the budget of each Co-Production.

The Co-producers from each State 2. should make a tangible creative and technical contribution to a Co-Production in proportion to their share in its budget, encompassing the total engagement of fi lmmakers, actors, technical-production personnel, laboratories and facilities. In justifi ed cases, the Competent Authorities may approve a Co-Production which does not satisfy all of these requirements.

ARTICLE 4

Producers, directors, screenwriters and actors, as well as technicians and remaining staff engaged in the Co-Production, must hold Polish or Indian citizenship or have their place of abode or permanent residence in one of these States, in accordance with the domestic law of each State. In justifi ed cases,

the Competent Authorities may approve a Co-Production which does not satisfy all of these requirements.

ARTICLE 5

The Competent Authorities may approve a 1. Co-Production involving, apart from Polish and Indian Co-producers, Co-producers from third countries which are parties to an audiovisual Co-Production agreement with at least one of these States (multilateral Co-Production).

The minimum contribution by a Co-2. producer in a multilateral Co-Production should be ten percent (10%) of the Co-Production’s budget. Article 3 para 2 of this Agreement shall apply as appropriate.

ARTICLE 6

Filming and animation work, including 1. the storyboard, layour, key animation and in between as well as sound recording, should be carried out in Poland or India.

The fi lming of scenes in the open air 2. or indoors may be performed in a third country if the screenplay or plot requires it and if Polish and Indian technicians are involved in this work.

Laboratory processing shall be carried 3. out in Poland or India, unless this is not possible for technical reasons. In such a case, the Competent Authorities may permit the laboratory processing to be carried out in a third country.

ARTICLE 7

The original soundtrack of each Co-1. Production shall be recorded in Polish, English or one of the languages or dialects of India (languages of the Parties). Dubbed soundtracks in any of these languages may be recorded in Poland or in India. A fi lm may be made in more than one language of the Parties version. Dialogues may also be recorded in other languages if the screenplay requires this.

Each language version of each Co-2. Production (dubbing or subtitles) shall




be produced in Poland and in India, as appropriate. Any departures from this rule must be approved by the Competent Authorities.

ARTICLE 8

Each Co-Production shall be made in at least 1. two copies of good picture quality, of equal legal validity, and in two international sound copies, on media which permit independent distribution in Poland and India.

The original negatives, as well as the fi nal 2. version of back up copies and master copy, shall be stored in the country of the majority Co-producer or in another place agreed upon between the Co-producers. Regardless of the place of storage, each Co-producer should have guaranteed access to these materials at any time, so that he may make essential reproductions under terms and conditions agreed upon between the Co-producers.

At least two backup copies of medium 3. and high-budget Co-Productions shall be made. If the Co-producers so agree, only one backup copy and one copy of the materials for reproduction may be made in the case of Co-Productions deemed to be low budget Co-Productions by the Competent Authorities.

ARTICLE 9

In accordance with the laws in force in their States, the Parties shall:

Permit producers, copywriters, directors, 1. technicians, actors and other personnel specifi ed in each Co-Production agreement to enter and briefl y stay in their country,

Permit the fi lm equipment and tapes 2. required for Co-Production to be brought into and taken out of the country.

ARTICLE 10

The division of revenues between Co-producers should correspond to their contribution to the Co-Production, taking into account Article 3 para 2 of this Agreement, and should be clearly stated in the Co-Production agreement.

ARTICLE 11

No provision of this Agreement shall imply that the approval of Co-Production or the granting of any associated benefi ts by the Competent Authorities signifi es an obligation by any of the Governments so grant a license, concession, permit or similar decision to Co-producers or any other persons for the dissemination of a Co-Production. Neither shall any such provision imply that these Authorities consider a Co-Production justifi ed or bear any responsibility for it.

ARTICLE 12

If a Co-Production is exported to a third 1. country which applies a maximum quota of such imports, the Co-Production shall be included in the quota of the majority Co-producing State.

If there is no majority Co-producing State, 2. the Co-Production shall be included in the quota of that State-Party which, in the joint opinion of the Co-producers, has better chances of exporting the fi lm. In the absence of agreement between the Co-producers, the Co-Production shall be included in the quota of the country of which the director is a citizen.

If one of the State-Parties enjoys an 3. unlimited right to export its fi lms to a third country which applies a maximum quota of such imports, the Co-Production, like any other domestic production of the State-Party, shall be the subject of unlimited exports to that third country, with the approval of that country’s Competent Authorities.

ARTICLE 13

Each Co-Production destined for 1. presentation shall be endorsed with the caption “A Polish Indian Co-Production” or “An Indian-Polish Co-Production”, depending on the majority Co-producer’s country of origin. In the absence of such a Co-producer, the Co-Production shall be endorsed in accordance with the terms of the Co-Production ent.




The caption referred to in para 1 shall be 2. accommodated in the opening credits and in all advertising and promotional materials, especially whenever such a Co-Production is presented.

ARTICLE 14

Unless otherwise agreed upon by the 1. Co-producers, if a Co-Production is to be presented at an international fi lm festival, it shall be submitted by the majority Co-producer’s country or, in the absence thereof, by the country of which the fi lm director is a citizen.

Prizes, grants and other distinctions 2. granted for the Co-Production shall be divided between the Co-producers in accordance with the terms of the Co-Production agreement and the laws in force in both States.

All non-pecuniary awards granted for the 3. Co-Production, especially any honorary distinctions and statuaries conferred by a third country or by an organization from a third country, shall be kept by the entity specifi ed in the Co-Production agreement or, in the absence thereof, by the majority Co-producer.

ARTICLE 15

The producers governing the application of this Agreement, taking into account the law in force in Poland and in India, are set forth in an Appendix to this Agreement and thus form an integral part thereof.

ARTICLE 16

The Parties shall impose no restrictions on the import, distribution and dissemination of Polish and Indian fi lms to be shown in the cinema or on television, or destined solely for distribution on analogue or digital data carriers, to the extent permitted under the laws of Poland and India.

ARTICLE 17

The Parties and Competent Authorities 1. shall resolve any disputes during the

realization of this Agreement by means of negotiations.

For the purpose of a further expansion of 2. co-operation between the two States in the sphere of audiovisual Co-Production, the Parties express their readiness to introduce all necessary amendments and additions to this Agreement in the manner foreseen in the laws of both States.

To facilitate the application of this 3. Agreement, the Parties or Competent Authorities may appoint a Joint Commission which will normally meet every two years, alternately in Poland and in India. The Commission may also be convened for an extraordinary meeting at the motion of the Competent Authorities or one or both Parties, especially in the event of signifi cant changes to the legislation of any of the States-Parties which could affect the implementation of this Agreement, or in the event of major diffi culties with its implementation.

ARTICLE 16

This Agreement is subject to acceptance 1. in accordance with the laws of each Party, which shall be effected by means of an exchange of memoranda. The date on which this Agreement enters into force shall be the date on which the later of the two memoranda is received.

This Agreement is concluded for an 2. indefi nite period. Either Party may terminate it with six month’s notice, conveyed to the other Party in writing.

Any Co-Productions approved by the 3. Competent Authorities and being realized at the moment of termination of this Agreement by either party shall continue to be bound by the terms thereof until they are completed. If this Agreement expires or is terminated, its provisions will be applied to the division of revenues from completed Co-Productions.




In witness whereof the undersigned, duly authorized by their respective Governments, have signed this Agreement.

Done in ……………on……………….in two counterparts, each of them in Polish and in English, whereby all texts are equally authentic.

For the Government of Republic of INDIA

For the Government of Republic of POLAND

APPENDIX

PROCEDUTESGeneral ProvisionsApplications for any benefi ts under this Agreement in aid of any Co-Production must be submitted simultaneously to the Competent Authorities at least sixty (60) days before fi lming begins. The Competent Authorities of the State of which the majority Co-producer or another Co-producer indicated by the Co-producers is a citizen shall convey their decision to the Competent Authorities of the other State within thirty (30) days of the submission of the complete documentation listed below. Again within thirty (30) days, the Competent Authorities of the other State shall convey their decision to the Competent Authorities of the fi rst State and to the Co-producer appointed by the Co-producers.Applications should be supported by the following documents, drawn up in Polish and English in the case of Poland and in English and one of the languages of India in the case of India:

Final version of the screenplay, 1.

Evidence of the lawful acquisition of 2. the copyright necessary to a given Co-Production,

A signed copy of a Co-Production agreement 3. concluded between Co-producers, which should contain:

The title of the Co-Production,a.

The name of the author of the b. screenplay or of the person who adapted the screenplay, if it is based on literary sources,

The name of the director,c.

A synopsis,d.

A budget plan, e.

A fi nancial plan, stating the fi nancial f. input of the Co-producers,

A clause defi ning the division of g. revenues and markets,

A clause setting forth a share in the h. copyright in proportion to the input of individual Co-producers,

A clause describing what to do if the i. budget is exceeded,

A clause describing the measures to j. be taken (if one of the Parties does not discharge its obligations,

A clause setting forth the rules k. governing fi nancial settlements if any Co-producer fails to provide the fi nancial contribution agreed upon in the Co-Production agreement,

A clause confi rming that the acceptance l. of a Co-Production does not imply any production will be distributed in the States-Parties,

A clause obligating the majority Co-m. producer to take out an insurance policy providing cover at least against “all production risks” and “all production risks connected with original materials.”

The date on which fi lming n. commences.




The distribution agreement, if such an 4. agreement has already been concluded,

A list of the fi lmmakers, actors and 5. technicians, indicating their nationality and, in the case of actors, the names of their characters,

A production schedule,6.

A detailed budget, showing the expenditures 7. to be incurred by the Co-producers in each country.

IMPORTANT PROVISIONS FOR INDIAIn addition, an application addressed to the Indian Ministry of Information, Radio and Television (MIRT) should be accompanied by four copies of the screenplay and fi lm synopsis, together with a payment mandate for USD 200 payable to the MIRT Department of Payments and Settlements. If the fi lm is to be shot wholly or partly in India, the Co-producers must provide the Indian Embassy in Poland and MIRT with the following information:

Details of any non-Indian members of 1. the fi lm crew: names, passport numbers and expiry dates, country which issued the passport, nationality, permanent and temporary address.

An accurate description of the shooting 2. locations and the fi lm crew’s travel plans.

A description of the cinematographic 3. equipment and quantity of fi lm to be brought in to India temporarily.

Within three weeks of receipt of the required set of documents, the MIRT will send the appropriate fi lming permit to all Co-producers and the Competent Authorities in the other State. A longer period for issuing the fi lming permit may be required if fi lming is to take place in Jammu and Kashmir, north-eastern States and some border zones.Permission to fi lm in India may be dependent upon the following conditions:

Permission from a person or his legal heir 1. who is to be portrayed in the fi lm; a copy of the permission should be attached to the screenplay,

If it is necessary to obtain assistance 2. from the Ministry of Defence, Ministry of Education, etc. separate agreements may have to be concluded with these Ministries. Requests for such assistance may be submitted vis the MIRT,

Each fi lm for whose production the 3. assistance of the Armed Forces has been obtained must be presented to the Ministry to the Ministry of Defence in order to obtain permission for its distribution.

In particular cases, a fi lm may have to 4. be presented to a representative of the Government of India or to the Indian Embassy in Poland before it can be shown anywhere in the world. Also in particular cases, a liaison offi cer may be assigned to a fi lm crew – at the expense of the Government of India.

CONCLUDING PROVISIONSThe Competent Authorities may ask for any additional documents or information which they consider essential in order to consider an application for a Co-Production.The fi nal screenplay (with script) should be presented to the Competent Authorities prior to the start of fi lming.Amendments, including a change of Co-producer, may be made to the original Co-Production agreement. However, any amendments must be submitted to the Competent Authorities for approval before the Co-Production is completed. A change of Co-producer is permissible only in exceptional circumstances, and for reasons considered by the Competent Authorities to be satisfactory. The Competent Authorities shall inform each other of the decisions they have reached.




The Republic of India and The Kingdom of Spain (hereinafter, “The Parties”)Seeking to improve cooperation between the two countries in the audiovisual fi eld: aware of the contribution which Co-Production can make to the development of the audiovisual industry.Desirous of promoting and facilitating the Co-Production of fi lms between the two countries, and the development of their cultural and economic exchanges.Convinced that these exchanges shall contribute to improving relations between the two countries:Have agreed as follows:

ARTICLE 1

In this Agreement, unless the Agreement otherwise requires:

A “Co-Production” is a fi lm including 1. feature fi lm, documentary, and animation fi lm irrespective of length, on any format to be shown in the fi rst place in cinemas, jointly invested in and produced by Co-producers made in accordance with

the terms of recognition given by the competent authorities of India and Spain under this Agreement. New forms of audio-visual production shall be included in the present Agreement by exchange of notes between the Parties.

The Competent Authorities responsible 2. for the implementation of this Agreement shall be :

On behalf of the Republic of India, a. by the Ministry of Information and Broadcasting.

On behalf of the Kingdom of Spain, by b. the Instituto de la Cinematografi a y de las Artes Audiovisuales (Institute of Cinematography and Audiovisual Arts) and when applicable, the competent authorities of the Autonomous communities where applicable.

Co-Productions falling within the scope c. of this Agreement shall be subject to the approval of the competent authority.

SPAINAGREEMENT OF AUDIOVISUAL CO-PRODUCTION

BETWEEN THE REPUBLIC OF INDIA AND THE

KINGDOM OF SPAIN.




The Contracting parties shall inform d. each other if the competent authorities are replaced by others.

Subject to the approval of both competent 3. authorities, a fi lm Co-produced in compliance with this Agreement shall be deemed to be a national fi lm in the territory of each Party and shall thus be fully entitled to all the benefi ts which are granted under the laws and regulations in force in the territory of each Party.

ARTICLE 2

The Co-producer in either of the two 1. countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, fi nancial backing and professional reputation.

The Contracting Parties shall in no way 2. be responsible or liable with regard to credentials of either of the Co-producers.

ARTICLE 3

Before shooting starts, Co-Production 1. fi lms shall require approval from both the competent authorities. For this purpose, each Co-producer would be required to submit an application, alongwith the information as required in the Annexure, to the Competent Authority. Approvals shall be notifi ed in writing and must specify the conditions according to which the approval is granted.

The Co-producers of a fi lm shall have their 2. principal offi ce or a branch offi ce in the territory of one of the Contracting Parties. None of the Co-producers shall be linked by common management, ownership or control.

Co-Productions falling within the scope 3. of this Agreement shall be subject to the approval of both the Competent Authorities, who would take into consideration their respective policies and guidelines and the requisites laid down in Annexure to this Agreement.

ARTICLE 4

On a general basis, in Co-Productions there 1. must exist an effective contribution of technical, creative and artistic personnel, of the nationality of the participant countries, which must be in proportion to the fi nancial contribution made by each Co-producer.

Technical and artistic personnel are those 2. persons who, in accordance with the domestic law in force in their own country, are recognized as makers of audio-visual productions, in particular screenwriters, directors, composers, editors, directors of photography, art directors, actors and sound technicians. The contribution of each of these persons shall be evaluated individually.

The contribution by a minority Co-producer will include participation of at least two actors and a head of Department in addition to an author (author means director or screenwriter or photography director or music composer).Both the fi nancial contribution and the 3. participation of each of the Co-producers in the performing, technical, artistic and creative tasks shall represent at least 20% (twenty percent) of the budget in making the Co-Production fi lms.

As an exception to the contribution 4. rules stated in paragraph 1 & 2 of this Article, both Competent Authorities shall be able to grant approval to the Co-Production projects known as “fi nancial Co-Productions” in which the contribution of one of the Co-producers is limited to only fi nancing, in which case fi nancial contribution shall be no greater than 25% (twenty fi ve percent) nor less than 10% (ten percent) of the total cost of the fi lm.

ARTICLE 5

When India or Spain maintains an audio-1. visual Co-Production agreement with a third country, the competent authorities shall, by virtue of this Agreement, be able to approve a Co-Production project to be produced with the participation of




a Co-producer from a third party, whose contribution may be no greater than 30%.

In the event of multilateral Co-Productions, 2. the lesser participation may be not lower than 10 percent and the greatest one not higher than 70 percent of the cost of the fi lm.

ARTICLE 6

The producers of a Co-Production shall be 1. Nationals/ citizens or permanent residents either of India or Spain subject to any sort of compliance of the obligations created by European Union upon Spain as a member.

Participants in the Co-Production as 2. defi ned in paragraph 1 must at all times throughout the production retain their national status, and may not acquire or lose such status at any point during the course of production activity.

Should the fi lm so require, the participation 3. of professionals who are not citizens of one of the Co-producing countries may be permitted, but only in exceptional circumstances, and subject to agreement between the competent authorities of both Contracting Parties.

ARTICLE 7

The rights, revenues and prizes arising in connection with the Co-Production shall be shared between the Party Co-Producers in a manner that shall be agreed between the Party Co-producers.

ARTICLE 8

Live action shooting and animation works 1. such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out either in India or in Spain.

Location shooting of a Co-produced 2. fi lm, exterior or interior, in a country not participating in the Co-Production may, however, be authorized by the competent authorities of both countries if the script or the action so requires and if technicians from India and Spain take part in the shooting.

The processing and post-production of Co-3. Productions shall be done either in India or Spain, unless it is technically impossible to do so, in which case the processing and post-production in a country not participating in the Co-Production may be authorized by the competent authorities of both countries.

ARTICLE 9

The Co-Production shall have the original 1. soundtracks either in Hindi, or in other Indian language or dialect, or in Spanish or in any other offi cial languages in Spain, or English language or in any combination of those permitted languages, which can further be dubbed in any of these languages.

In the event, if script so desires, any 2. other language can be used for stray dialogues with permission from competent authorities.

It will be necessary that the dubbing or 3. sub-titling of the Co-Production will be done or performed either in India or Spain. Dubbing or sub-titling in Indian languages should be performed in India and dubbing or sub-titling into Spanish or in any other offi cial languages in Spain should be performed in Spain, and dubbing or sub-titling in English could be performed in India or Spain depending upon the agreement between Co-producers.

ARTICLE 10

The Co-Production fi lm and the promotional 1. material associated with it shall include certain credit titles stating that the fi lm is a “Co-Production between India and Spain” or a “Co-Production between Spain and India” or, when appropriate credit titles refl ecting the participation of India, Spain and the country of a third Co-producer.

Prizes, grants, incentives and other 2. benefi ts awarded to the Co-produced work may be shared between the Co-producers, in accordance with what has been established in the Co-Production




contract and in conformity with applicable laws in force.

All prizes which are not in cash form, 3. such as honorable distinctions or trophies awarded by third countries, for Co-produced work produced according to the norms established by this agreement, shall be kept in trust by the majority Co-producer or according to terms established in the Co-Production contract/ agreement.

ARTICLE 11

When a Co-produced fi lm is exported to a 1. country, which has quota limitations:

In principle, the Co-produced fi lm shall a. be included in the quota of the country of the majority investment;

If both Co-producers have made an b. equal investment, Co-producers of both sides shall decide the quota in question through mutual consultation, so that the Co-produced fi lm can be included in the quota of the country that can make better arrangements for the export of the fi lm;

If diffi culties still exists, the Co-c. produced fi lm shall be included in the quota of the country of which the director is a national.

Notwithstanding paragraph 1, in the 2. event that one of the Co-producing countries enjoys unrestricted entry of its fi lms into a country that has quota regulations, a co production undertaken under this Agreement will be as entitled as any other national production of the above-mentioned Co-producing country to unrestricted entry into the importing country if that above-mentioned Co-producing country so agrees.

ARTICLE 12

For approved Co-Productions, each Contracting Party shall facilitate, in accordance with the domestic law in force in its country:


the import into and export from b. its territory of technical and other fi lmmaking equipment and materials by producers of the other Contracting Party.

ARTICLE 13

Permission for public exhibition will be in accordance with local laws in both India and Spain.

ARTICLE 14

Notwithstanding any other provision in this Agreement, for the purpose of taxation the laws in force in both the countries shall apply.

ARTICLE 15

There shall exist a Joint Commission 1. composed of representatives of the Parties, including the competent authorities and representatives of the industry.

The role of the Joint Commission shall 2. consist of supervising and reviewing the application of this Agreement, making any proposal that is amended necessarily for improving the effect of the Agreement and modifying the appendix hitherto as appropriate.

The Joint Commission shall be convened, 3. whether by meeting or otherwise, at the request of either of the Parties, within six months of such a request.

ARTICLE 16

This Agreement shall come into force after each Party has informed the other Party through offi cial diplomatic channels that its internal ratifi cation procedures have been completed.

ARTICLE 17

This Agreement may be amended by the mutual consent of the Contracting Parties through the exchange of notes between the Contracting Parties through the diplomatic channel. The change shall take effect on the date specifi ed in the note.




ARTICLE 18

Any dispute between the Parties arising out of the interpretation or implementation of this Agreement shall be settled consensually through consultation and negotiation and shall not be referred for resolution to any national or international tribunal or a third party.

ARTICLE 19

This Agreement including the Annex, which 1. forms an integral part of this agreement, shall remain in force unless terminated in terms of paragraph (2).

Either Contracting Party may terminate 2. this Agreement by giving six months’ written notice in advance of such intention to the other Contracting Party through the diplomatic channel.

Notwithstanding the provisions of 3. paragraph 1 of this Clause, this Agreement shall continue in force with regard to any Co-Production fi lm that has received approval from the competent authorities and which has not yet been completed prior to its termination.

Done at _____________on the day _________ of__________________

in three originals each in Hindi, Spanish and English, all these versions being authentic.

For the Republic of INDIA For the Republic of SPAIN




The Government of the United Kingdom of Great Britain and Northern Ireland and the Government of the Republic of India (“hereinafter called the Parties”): Considering that there is potential for the fi lm industries of each country to work together on account of shared or complementary characteristics that include the structure of each fi lm industry, the fi lm culture of each country and the extent of the availability in each country of fi lmmaking facilities, a suitably skilled workforce and locations for fi lming; Recognising that development of such potential will be to the mutual advantage of each Party, in particular in respect of the growth and competitiveness of their fi lm industries and the enhancement of their fi lm cultures; Noting the benefi ts available in each country to fi lms with national fi lm status; Desiring to encourage the making of fi lms that refl ect, enhance and convey the diversity of culture and heritage in both countries; Acknowledging the benefi ts that would fl ow

from the making of such fi lms and their increased public availability; and Noting on the basis of mutual cooperation, the Agreement is intended to produce benefi ts for both parties. Have agreed as follows:

ARTICLE 1

Defi nitions In this Agreement: 1.

“Approved Co-Production” means a Co-produced fi lm which has Approved Co-Production status in accordance with Article 2;

“Co-producer” means any individual, partnership, body corporate or unincorporated association who is a Co-producer of a fi lm;

“Competent Authority” means a government department or other body as shall be nominated by the respective Party in each country to make decisions on applications for the grant of Approved Co-

UNITED KINGDOMFILM CO-PRODUCTION AGREEMENT BETWEEN THE

GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN

AND NORTHERN IRELAND AND THE GOVERNMENT OF THE

REPUBLIC OF INDIA.




Production status; “Film” includes any record, however made,

of a sequence of visual images, which is a record capable of being used as a means of showing that sequence as a moving picture, and for which there is an expectation for theatrical release and public exhibition.

“Indian Co-producer” means a Co-producer who is established and/or incorporated in India; and

“UK Co-producer” means a Co-producer who is established and/or incorporated in England, Wales, Scotland or Northern Ireland. References to fi lmmaking contribution 2. benefi ting the UK or India include, in particular, the expenditure in that country on goods and services which directly results from the Co-Production and the use made of fi lmmaking facilities or fi lming locations in that country.

Subject to Article 2(2) the Annex forms an 3. integral part of this Agreement. Any reference to this Agreement includes the Annex.

ARTICLE 2

Approved Co-Production status The Competent Authorities may grant 1. approved Co-Production status to a fi lm which provides appropriate fi lmmaking and cultural benefi ts to the UK and India; and meets the requirements set out in this Agreement.

The Parties shall jointly arrive at, through a 2. subsequent exchange of notes, a mutually agreed Annex to this Agreement. The Annex shall include requirements as to:

the appropriate fi lmmaking and a. cultural benefi ts to the UK and India;

the nature of Co-producers; b.

the minimum and maximum fi nancial c. contributions of Co-producers;

fi lmmaking contributions of Co-d. producers;

content, language, credits, locations e. and personnel; and

any other matters that the Parties f.

consider desirable.

The Annex shall also include rules of 3. procedures on:

the granting of approvals of an a. application for Approved Co-Production status;

the withdrawal of Approved Co-b. Production status;

any other matters that the Parties c. consider desirable.

The Annex shall include provision as to the 4. criteria for measuring mutual benefi ts.

The Annex shall enter into force as soon as 5. the Parties have notifi ed each other of the completion of their respective legal and constitutional procedures.

In determining an application made to it, 6. a Competent Authority shall apply these requirements in accordance with guidance published by the Competent Authority under this Article.

Each Competent Authority may from time 7. to time publish guidance consisting of such information and advice as it considers appropriate with respect to:

how applications are to be made to the a. Competent Authority, and

the operation and interpretation of this b. Agreement.

Such guidance shall, in particular, set out: 8.

how the Competent Authority proposes a. to make decisions on applications for the grant of Approved Co-Production status, and

factors it will take into account when b. exercising any discretion conferred on it by this Agreement.

Nothing in this Agreement binds the 9. relevant authorities in the UK or India to permit the public exhibition of a fi lm, which has been granted Approved Co-Production status.




ARTICLE 3

Benefi ts This Article applies in relation to any fi lm 1. which has Approved Co-Production status under this Agreement.

Each Party shall permit, in accordance 1. with their respective legislation, including, for the UK relevant European Community legislation, temporary import and export, free of import or export duties and taxes, of any equipment necessary for the production of an Approved Co-Production.

Each Party shall permit any person 2. employed in the making or promotion of an Approved Co-Production to enter and remain in the UK and India, as the case may be, during the making or promotion of the fi lm, subject to the requirement that they comply with the legislation relating to entry, residence and employment.

Each Party shall treat a fi lm falling within 3. paragraph (1) of this Article as a national fi lm for the purposes of any benefi ts afforded in that country to national fi lms.

The question of which Party may claim 4. credit for an Approved Co-Production as a national fi lm at an International Film Festival shall be determined:

by reference to whichever is the a. greater of either:

the total fi nancial contributions (i) made by the UK Co-producer or Co-producers (taken together), or

the total fi nancial contributions (ii) made by the Indian Co-producer or Co-producers (taken together); or

if the respective total fi nancial b. contributions are equal, by reference to whichever of the UK or India the director of the fi lm is most closely associated with.

ARTICLE 4

Films in production before and after entry into force

A fi lm shall be eligible for the grant of 1. Approved Co-Production status even if production commenced before this Agreement entered into force, but only if:

the fi rst day of principal photography a. of the fi lm is no more than 18 months before the date on which the Agreement enters into force, and

production of the fi lm is completed after b. the date on which the Agreement enters into force.

An Approved Co-Production shall continue 2. to be eligible to receive any benefi ts available under this Agreement on or after the date on which the Agreement ceases to have effect, but only if:

before that date, the Competent a. Authorities have given the fi lm requisite approval for Approved Co-Production status under Article 2.

its principal photography commenced b. before the date on which the Agreement ceases to have effect, and

production of the fi lm is completed c. before the end of the period of twelve months commencing with the date on which the Agreement ceases to have effect.

ARTICLE 5

Review and Amendment The Parties shall keep the Agreement 1. under review and, where they consider it appropriate to do so, may recommend that changes be made.

The Parties shall report to the other 2. annually in writing on the current state of the Agreement.

The Parties may, at any time through an 3. exchange of mutually agreed notes, make amendments to the Agreement.

Any such amendment shall enter into force 4. as soon as the Parties have notifi ed each other of the completion of their respective legal and constitutional procedures.




ARTICLE 6

International obligations The provisions of this Agreement are 1. without prejudice to the international obligations of the Parties, including in relation to the United Kingdom obligations arising from European Community law.

ARTICLE 7

Entry into force 1. This Agreement shall enter into force as

soon as the Parties have notifi ed each other of the completion of their respective legal and constitutional procedures. 2. Either Party may terminate this Agreement at any time by giving at least 6 months’ prior written notice to the other Party. 3. The Agreement shall cease to have effect on the expiry of the period of notice given under paragraph (2) of this Article.

IN WITNESS WHEREOF, the undersigned, being duly authorised thereto by their respective Governments, have signed this Agreement. DONE in duplicate at New Delhi this fi fth Day of December 2005 in the English and the Hindi languages, both texts being equally authentic. In case of any divergence in interpretation, the English text shall prevail.

For the Government of INDIAFor the Government of the United the

Republic Kingdom of GreatBRITAIN and NORTHERN IRELAND




ANNEX

Rules for applications

for approval of Film Co-production Agreement

between

the Government of the Republic of India

and

the Government of United Kingdom of Great

Britain

and Northern Ireland

Applications for qualifi cation of a fi lm 1. for co-production benefi ts under this Agreement for any co-production must be made to competent authority at least thirty (30) days before shooting begins.

Documentation submitted in support of an 2. application shall consist of the following items, drafted in English:

2.1 The fi nal script and synopsis;

2.2 Documentary proof of having legally acquired the rights to produce and exploit the Co-Production and that the copyright for the co-production has been legally acquired;

2.3 Proof of compliance with the prescribed procedure for permission regarding entry of crew, equipment and for shooting location in India;

2.4 A copy of the co-production contract signed by the two co-producers.

The contract shall include –

a) the title of the co-production;

b) the name of the author of the script, or that of the adaptor if it is drawn from a literary source; necessary permission for adapting the literary work into a fi lm from the author/legal heirs may be attached;

c) the name of the director

d) the budget;

e) the fi nancing plan;

f) a clause establishing the sharing of revenues, markets, media or a combination of these;

g) a clause detailing the respective shares of the co-producers in any over or under expenditure, which shares shall in principle be proportional to their respective contributions, although the minority co-producer’s share in any over expenditure may be limited to a lower percentage or to a fi xed amount providing that the minimum proportion permitted under the Agreement is respected;

h) a clause stating that the competent authorities have to be informed if the percentage of the contribution of a co-producer changes subsequent to the approval of the competent authorities;

i) a clause stating that fi lms co-produced under this Agreement may be publicly exhibited in either country in accordance with prescribed rules/procedures;

j) a clause recognizing that admission to benefi ts under this Agreement does not constitute a commitment that governmental authorities in either country will grant a license to permit public exhibition of the co-production;

k) a clause prescribing the measures to be taken where:





(ii) the competent authorities prohibit the exhibition of the co-production in either country or its export to a third country;


l) the period when shooting is to begin;

m) a clause stipulating that the majority co-producer shall take out an insurance policy covering at least “all production risks” and “all original material production risks”; and

n) a clause providing for the sharing of the ownership of copyright on a basis that it is proportionate to the respective contributions of

the co-producers.

2.5 the distribution contract, where it has already been signed, or a draft if it has yet to be concluded;

2.6 a list of the creative and technical personnel indicating their nationalities and, in the case of performers, the roles they are to play;

2.7 the production schedule;

2.8 the detailed budget identifying the expenses to be incurred by each country; and

2.9 all contracts and other relevant fi nancial documentation for all participants in the fi nancial structure.

The competent authorities can demand 3. further documents and all other additional information deemed necessary.

The fi nal shooting script (including 4. the dialogue) should be submitted to the competent authority prior to the commencement of shooting.

Amendments may be made in the original 5. contract, but they must be submitted for approval by the competent authorities before the co-production is fi nished.




KEY FILM INDUSTRYCONTACTS

A comprehensive list of associations, producers, distributors and independent

fi lmmakers across India


Key Film Industry Contacts


PRODUCTION HOUSES (SOUTH INDIAN FILM CHAMBER OF COMMERCE)

TAMILA.V.M.PRODUCTIONS

A.V.M.SARAVANAN

044-42136700

K.R.INFOTAINMENT P.LTD

A.KOTHANDARAMAIAH(K.R)

98410-8850

SATHYA JYOTHI FILMS

T.G.THYAGARAJAN

95000-19899

AMMA CREATIONS

T.SIVA

94445-34567

STUDIO GREEN

GNANAVEL RAJA

96000-77666

ALAGAPPA ART

CREATIONS

AL.ALAGAPPAN

98410-23495

GAYATHRI FILMS

CHITRA LAKSHMANAN

94443-83744

ROJA COMBINES

M.KHAJA MOIDEEN

94443-80111

JEYAM COMPANY

EDITOR MOHAN

98402-76403

MURALI CINE ARTS

H.MURALI

94440-87517

LAKSHMI MOVIE MAKERS

K.MURALIDHARAN

94440-87417

THIRRUPATHI BROS.FILM

MEDIA P.LTD

SUBASH CHANDRA BOSE

98840-49333

PYRAMID FILMS

INTERNATIONAL

V.NATARAJAN

98410-54545

MOTHERLAND PICTURES

KOVAI THAMBI

98400-92700

B.R.R.ART ENTERTAINERS

RADHA RAVI

98400-41877

SRI MISHRI

PRODUCTIONS

CHANDRA PRAKASH JAIN

98410-39141

SEVENTH CHANNEL

COMMUNICATIONS

MANICKAM NARAYANAN

98841-91434

SUPER GOOD FILMS

R.B.CHOWDHRY

98410-70204

SURYA MOVIES

A.M.RATHNAM

99625-68605

WIDE ANGLE CREATIONS

SURESH BALAJI

99401-23451

AASCAR FILMS P.LTD

V.RAVICHANDRAN

98410-22246




AGS ENTERTAINMENT

P.LTD

KALPATHI AGORAM

98410-34988

B.STUDIOS

BALA

99445-53319

CAPITAL FILM WORKS

S.P.CHARAN

99401-16660

CLOUD 9 MOVIES

DAYANIDHI ALAGIRI

90031-86771

COMPANY PRODUCTIONS

M.SASIKUMAR

99405-66667

G.K.FILM CORPORATION

G.K.REDDY

98409-80590

P.V.P.CINEMA

POTLURI

93818-41146

R.K.PRODUCTIONS

KASTHOORI RAJA

044-2815-1468

S.PICTURES

SHANKAR

044-2376-0643

SRI THENANDAL FILMS

RAMA NARAYANAN

98410-38782

V.V.CREATIONS

S.A.CHANDRASEKAR

98849-12234

METRO FILMS P.LTD

JAYAKUMAR (METRO)_

96000-75589

RAAJKAMAL FILMS

INTERNATIONAL

KAMAL HAASAN

044-2433-4140

SIVAJI PRODUCTIONS

RAMKUMAR

044-2835-0127

MUKTHA FILMS

MUKTHA V.SRINIVASAN

93802-44118

MOVIE MAGIC

MADHESH

98400-23111

KAVITHALAYA

PRODUCTIONS P.LTD

K.BALACHANDER

98412-27171

SHARANYA CINE

COMBINES

K.BHAGYARAJ

98400-71277

V.CREATIONS

S.THANU

98840-19999

RAJLAKSHMI FILMS

P.LTD

PL.THENAPPAN

94440-00069

SIVASAKTHI MOVIE

MAKERS

SIVASAKTHI PANDIAN

984680660

ANBALAYA FILMS

K.PRABAKARAN

98846-12130

VASAN VISUAL VENTURES

K.S.SRINIVASAN

98409-89111

AVM.FILM STUDIOS

M.BALASUBRAMANIAN

98407-20703




TELUGUSRI AMULYA ART

PRODUCTIONS

C.KALYAN

078939-55599

DEVI KAMAL MOVIES

K.C.SEKAR BABU

9849635350

CREATIVE COMMERCIALS

K.S.RAMA RAO

098490-99399

SRI KRISHNA PRASANNA

CREATIONS

T.PRASANNA KUMAR

098490-33383

SURESH PRODUCTIONS

D.RAMA NAIDU

9849022033

DASARI FILM

UNIVERSITY

DASARI NARAYANA RAO

098681-81002

GEETHA ARTS

ALLU ARAVIND

098497-34567

SREE LAKSHMI

PRODUCTIONS

T.RAMA RAO

94440-21521

PRASAD PRODUCTIONS

A.RAMESH PRASAD

9849111176

RAMA FILMS

K.NAGESWARA RAO

9866611225

SRI RAGHAVENDRA CINE

CHITRA

K.SATYANARAYANA

9444419354

SAI GANESH

PRODUCTIONS P.LTD

BELLAMKONDA SURESH

098490-05528

VARMA CORPORATION

LTD

RAM GOPAL VARMA

040-23541968

USHAKIRON MOVIES

RAMOJI RAO

08145-246408




KANNADA

MALAYALAM

AJANTHA COMBINES

A.R.RAJU

099806-19726

K.C.N.MOVIES

K.C.N.CHANDRASEKAR

098455-44003

POORNIMA ENTERPRISES

PARVATHAMMA RAJKUMAR

080-23346716

RAMU ENTERPRISES

RAMU

080-2226-3430

ROCKLINE PRODUCTIONS

ROCKLINE VENKATESH

093412-32275

TANU CHITRA

SA.RA.GOVINDU

9448051314

ANJANADRI CINEMA

H.N.MARUTHI

080-22262277

CHINNI FILMS

JAYASREE DEV I

9448810228

SHREE SHOUNDARYA

ARTS

JAYAMALA

080-2341-3331

GRIHALAKSHMI

PRODUCTIONS

DR.P.V.GANGADHARAN

098473-40404

SEVEN ARTS

INTERNATIONAL LTD

G.P.VIJAYAKUMAR

98840-25747

EVERSHINE

PRODUCTIONS

S.S.T.SUBRAMANIAM

098470-35281

MUDRA ARTS

B.SASHIKUMAR

098470-56465

REVATHI KALAMANDHIR

G.SRUESH KUMAR

9447123299

KOKERS FILMS

A.A.SYED KOKER

098470-30040

ADOOR

GOPALAKRISHNAN

PRODNS.

ADOOR GOPALAKRISHNAN

0471-2446567

GANESH PICUTRES

RAVIKOTTARAKARA

97908-33335

CENTURY

M.C.PHILIP ALIAS KOCHUMON

9444017808

SUNITHA PRODUCTIONS

AROMA MANI

094471-69996

SWARGA CHITRA

P.D.APPACHAN

9846096669

MADHU AMBAT

PRODUCTIONS

MADHU AMBAT

99401-66566




FILM & TV GUILD MEMBERS

Name Production House / Banner Email Address

A.G Nadiadwala M/s A.G. Vision LLP [email protected]

Aamir Khan M/s Aamir Khan Productions Pvt. Ltd.

[email protected]

Aashish Singh M/s Yash Raj Films Pvt. Ltd. aashish@yashrajfi lms.com,

Abhay Chopra M/s B. R. Filmsabhaychopra@brfi lmsindia.com

Abhay Chopra M/s. B R Films Pvt. Ltd.abhaychopra@brfi lmsindia.com

Abhay Chopra M/s. B R TV abhaychopra@brfi lmsindia.com

Abhinav Shukla M/s Nautanki Films Pvt. Ltd. abhinav@nautankifi lms.com

Ajay Bijli M/s PVR Pictures [email protected], [email protected]

Ajay Goel M/s Goel Cine Corporation [email protected]

Ajhai Acharya M/s Baba Arts Limited [email protected]

Ajit AndhareM/s Viacom 18 Motion Pictures/ M/s Viacom 18 Media Pvt. Ltd.

[email protected]

Akkineni Nagarjuna Rao M/s Annapurna Studios Pvt. Ltd. [email protected]

Aly MoraniM/s Cineyug Media Entertainment Pvt. Ltd.

[email protected]

Aman GillM/s Gill Pictures Entertainment Pvt. Ltd.

[email protected]

Amit Khanna M/s Filmunit [email protected]

Amitabh Bachchan M/s A B Corp Limited [email protected]

Anil Kapoor M/s Anil Kapoor Films Co. Pvt. Ltd. [email protected]

Anupam Kher M/s Actor Prepares [email protected],[email protected]




Anushka Sharma/Karnesh Sharma

M/s Clean Slate Films Pvt. Ltd. karnesh@cleanslatefi lms.in

Arun PandeyM/s Inspired Entertainment Pvt. Ltd.

[email protected]

Asheesh ChatterjeeM/s Reliance Broadcast Network Ltd.

[email protected]

Ashim Samanta M/s Aradhana Films [email protected]

Ashim Sen M/s Masen Production Pvt. Ltd. [email protected]

Ashish BhatnagarM/s IDream Motion Pictures Pvt. Ltd.

[email protected]

Ashok Thakeria M/s Maruti International [email protected],[email protected]

Ashutosh GowarikerM/s Ashutosh Gowariker Productions Pvt. Ltd.

[email protected];[email protected], [email protected]

Asitkumarr Modi M/s Neela Telefi lms Pvt. Ltd. asitmodi@neelatelefi lms.com

Bhushan KumarM/s Super Cassettes Industries Ltd.

[email protected],[email protected]

Boney KapoorM/s BSK Network and Entertainment Pvt. Ltd.

[email protected]

Cushru P Shroff M/s Lin-TV Advertising Pvt. [email protected]

D Suresh Babu M/s Suresh Productions (P) [email protected],[email protected]

Denzil DiasM/s Warner Bros. Pictures (India) Pvt. Ltd.

[email protected]

Dheeraj Kumar M/s Creative Eye Ltd. [email protected]

Dr. Bhupendra Kumar Modi

M/s Spice Corp [email protected], [email protected]

Ekta KapoorM/s Balaji Films Ltd. / Ms Balaji Motion Pictures Ltd.

[email protected]

Farhan Akhtar M/s Excel Entertainment Pvt. [email protected],[email protected]

G B Aayeer M/s Saregama India Limited [email protected]

Govind Nihalani M/s Udbhav Dreamzone Pvt. Ltd. [email protected]

Guneet Monga/Achin Jain M/s Sikhya Entertainment Pvt. Ltd. [email protected]




Himanshu MehraM/s Movie Temple Productions Pvt. Ltd.

[email protected]

Hiren Gada M/s Shemaroo Entertainment Ltd. [email protected]

J Om Prakash M/s Filmyug Pvt. Ltd. fi [email protected], [email protected]

J.P.Dutta M/s J. P. [email protected],jassi@jpfi lms.net

Jyotin Goel M/s Goel Screencraft [email protected]

Kalyaan Guha M/s Film Farm India Pvt. Ltd. [email protected]

Kamal Kumar Barjatya M/s Rajshri Pictures Pvt. [email protected], [email protected]

Kamna Menezes M/s SOL Productions Pvt. Ltd. [email protected]

Karan Johar M/s Dharma Productions Pvt. Ltd.

[email protected]

Ketan Anand M/s Himalaya Films [email protected]

Kiran V Shantaram M/s V Shantaram Productions Pvt. Ltd.

[email protected]

Kumar Taurani M/s Tips Industries Ltd. [email protected]

Kunal Kohli M/s Kunal Kohli Productions Pvt. Ltd.

[email protected], [email protected]

Madhu Mantena/Vikas Bahl/Ashwatha Aaron Naik

M/s Phantom Films Pvt. Ltd.,[email protected],[email protected],[email protected]

Manish Goswami M/s Siddhant Cinevision Ltd. [email protected]

Manmohan Shetty M/s Walkwater Media Ltd.


Milan Luthria M/s Vertex Motion Pictures Pvt. Ltd. [email protected]

Mohan Kumar M/s Emkay Films Pvt. Ltd emkayfi [email protected]

Mohan Umrotkar M/s Reliance Mediaworks Ltd. [email protected]

Mrinal Sen [email protected]

Ms. Madhu BhojwaniM/s Emmay Entertainment & Motion Pictures LLP,

[email protected]




Mukesh Bhatt M/s Vishesh Entertainment Pvt. Ltd.

mukesh.bhatt@visheshfi lms.com,sb@visheshfi lms.com,gilbert@visheshfi lms.com

Mukesh Bhatt M/s Vishesh Films Pvt. Ltd.

mukesh.bhatt@visheshfi lms.com,sb@visheshfi lms.com,gilbert@visheshfi lms.com

N P Singh M/s Multi Screen Media Pvt. [email protected],[email protected]

Neeraj RoyM/s Hungama Digital Media Entertainment Pvt. Ltd.

[email protected]

Nikhil AdvaniM/s Emmay Entertainment Pvt. Ltd.

[email protected]

Nina Lath GuptaM/s National Film Development Corp. Ltd

[email protected]

Nishi Prem M/s Paanch Rupaiya Bara Aana (PRBA) Productions Pvt. Ltd.


Nitin RaghuvanshiM/s Sahara One Media & Entertainment Ltd.

[email protected]

Nuzhat Khan M/s Nasir Husain Films Pvt. Ltd. nasirhusainfi [email protected]

Prakash Jha M/s Prakash Jha [email protected],[email protected]

Prateek Chakravorty M/s Pramod Films pramodfi [email protected]

Prem Sagar M/s Sagar Entertainment [email protected],[email protected]

Priti Shahani M/s Junglee Pictures Limited [email protected]

Pritish NandyM/s Pritish Nandy Communications Ltd.

[email protected]

Rahul JohriM/s Discovery Communications India

[email protected]

Raj Kumar Kohli M/s Shankar Movies

Rajan Shahi/Ranjit Agrawal

M/s Director's Kut Production [email protected]

Rajesh Mishra M/s UFO Moviez India [email protected]

Rajith Menon M/s Amalgam Entertainment, [email protected]

Rajiv Rai Sachdev M/s Trimurti Films Pvt. Ltd. info@trimurtifi lms.com




Rajkumar Hirani/Sanjiv Kishinchandani/Dileep Desai

M/s Rajkumar Hirani Films Pvt. Ltd.

[email protected]

Rakesh Roshan M/s Filmkraft Productions (India) Pvt. Ltd.

fi [email protected],[email protected]

Ramesh Prasad M/s Prasad Productions Pvt. [email protected],[email protected]

Ramesh Sippy M/s R. S. Entertainment Pvt. Ltd. [email protected]

Randhir Kapoor M/s R. K. Films & Studios randhirkapoor@rkfi lms.net

Randhir Kapoor M/s R. K. Films & Studios Pvt. Ltd. randhirkapoor@rkfi lms.net

Ratan JainM/s Venus Worldwide Entertainment Pvt. Ltd.


Renu Ravi Chopra M/s B.R. Studios LLP renuchopra@brfi lms.in

Ritesh Batra/Ms. Seher Latif

M/s Poetic License Motion Pictures Pvt. Ltd.

[email protected]; [email protected]

Rohit KhattarM/s Mumbai Mantra Media Limited

[email protected]

Romu N Sippy M/s Rupam Pictures Pvt. Ltd. [email protected]

Sabbas JosephM/s Wizcraft International Entertainment Pvt. Ltd.

[email protected]; [email protected]

Sajid NadiadwalaM/s Nadiadwala Grandson Entertainment Pvt. Ltd.


Salman Khan/Amar Butala/Garima Mehta

M/s Salman Khan Ventures Pvt. Ltd.

[email protected],[email protected],[email protected]

Sameer RattonseyM/s Cinema Paradiso Entertainment Pvt. Ltd.

[email protected]

Samir Gupta M/s Cinema [email protected],[email protected]

Sandeep Singh Bedi M/s Kaleidoscope Ent. Pvt. Ltd [email protected]

Sanjeev LambaM/s Reliance Entertainment - Division of Reliance Big Entertainment Pvt. Ltd.

[email protected]

Shah Rukh Khan M/s Red Chillies Entertainments Pvt. Ltd.


Shakti Sagar Chopra M/s Fable Tree Pictures Pvt. Ltd. [email protected]




Shaukat KhanM/s Mehboob Productions Private Ltd.

[email protected]

Sheetal Talwar M/s. WSG Pictures Pvt. Ltd. [email protected]

Shhyam Singhania [email protected]

Shiamak DavarM/s Shiamak Davar International (India) Ltd.


Shiv Surinder Kumar/Sanjana Chopra

M/s The Bombay Film Company Ltd.

[email protected]

Shridhar SubramaniamM/s Sony Music Entertainment India Pvt. Ltd.

[email protected]

Shyam BenegalM/s Shyam Benegal Sahyadri Films

[email protected]

Siddharth Roy Kapur M/s UTV Software Communications Ltd.


Sidhartha M Jain M/s IRock Media Pvt. [email protected],[email protected]

Sourav Chatterjee M/s Planman Motion Pictures


Srishti Arya M/s Rose Audio Visuals Pvt. [email protected],[email protected]

Subhash Ghai M/s Mukta Arts [email protected],[email protected]

Subhash Mukerji M/s Subodh Mukerji Productions [email protected]

Sujit Kumar Singh M/s Shreya Entertainment Pvt. Ltd.


Suneil Anand M/s Navketan (1978) [email protected]

Suniel Anand M/s Navketan Films [email protected]

Suniel AnandM/s Navketan International Films

[email protected]

Sunil DoshiM/s Alliance Media & Entertainment

[email protected]

Sunil Lulla M/s Eros International Media Ltd. [email protected]

Sunjoy WaddhwaM/s Sphereorigins Multivision Pvt. Ltd.


Sushilkumar Agrawal M/s Ultra Distributors Pvt. Ltd. [email protected]




Uday Shankar M/s Star India Pvt. Ltd. [email protected]

Uday SinghM/s Motion Picture Association (MPA) Of America

[email protected]

Umesh Mehra M/s Eagle Films Pvt. Ltd [email protected]

Umesh Shukla M/s Benchmark Pictures Pvt. Ltd. [email protected]

Uttam Jhavar M/s Morya Arts Pvt. [email protected],[email protected]

Vaibhav AnandM/s Vaibhav Vijay Anand Pictures

[email protected]

Varjinder ChhabraM/s Anand Sagar Media And Entertainment Pvt. Ltd.


Vidhu Vinod Chopra M/s Vinod Chopra Productions

[email protected];[email protected], [email protected],[email protected]

Vijay SinghM/s Fox Star Studios India Pvt. Ltd.


Vikram Bhatt/ Anjukumar Bishnoi

M/s ASA Production & Enterprises Pvt. Ltd.

[email protected]

Vipul Amrutlal ShahM/s Block Buster Movie Entertainers

"[email protected],[email protected]"

Vipul D. Shah/Sanjiv Sharma

M/s Optimystix Entertainment India Pvt. Ltd.

[email protected]

Vishal Bharadwaj M/s Vishal Bhardwaj Pictures Pvt. Ltd.

[email protected],[email protected]>

Vivek Singhania M/s Picture Perfect [email protected]

M/s TV18 Broadcast [email protected]

M/s Tilak Movies Pvt. Ltd.

M/s Prakash Mehra Pictures P. Ltd. [email protected]

M/s V R Pictures

M/s Sippy Films Pvt. Ltd.subhash@sippyfi lms.com, [email protected]

For Complete List of Film & T.V. guild members:www.fi lmtvguildindia.org




ASSOCIATIONS & INDUSTRY BODIES

Film Federation of India

supransen.fi [email protected]

The Film & TV Producers Guild of India

kulmeet@fi lmtvguildindia.org

Indian Council of IMPEX for fi lms and TV Programmers

fi [email protected]


leena.jaisani@fi cci.com

Confederation of Indian Industry

[email protected]

Associated Chambers of Commerce and Industry of India

[email protected]




ASSOCIATIONS AFFILIATED TO FILM FEDERATION OF INDIA

Association President Email Address

Andhra Pradesh Film Chamber of Commerce

Mr. N. V. Prasad info@apfi lmchamber.com

Akhil Bharatiya Marathi Chirtrapat Mahamandal

Mr. Vijay Vishnu Patkar

[email protected]

Bihar & Jharkhand Motion Pictures Association

Dr. Sunil Kumar [email protected]

Central Circuit Cine Association Mr. J. P. Chowksey [email protected]

Cinema Owners & Exhibitors Association of India

Mr. Nitin Datar [email protected]

Chennai City Film Exhibitors Association

Mr. Sv Rm Ramnathan

[email protected]

Eastern India Motion Pictures Association

Mr. Shrikant Mohta shrikant@venkateshfi lms.com

Film Makers Combine - Chairman Mr. T.P. Aggarwal / Mr. Sangram Shirke

indiafi [email protected]

Film & Television Producers Guild of South India

[email protected]

Indian Council of Impex for Films & TV Programmers

Mr. Hirachand Dand [email protected]

Indian Documentary Producers Association

Mr. Mike Pandey [email protected]

Indian Motion Picture Producers Association

Mr. T. P. Aggarwal [email protected]

Kerala Film Chamber of Commerce Mr. K Nanda Kumar [email protected]

Karnataka Film Chamber of Commerce Mr. Thomas D’souza [email protected]

Kannada Film Producers Association Mr. Munirathna [email protected]




Kinematograph Renters Society Pvt. Ltd,

[email protected]

Motion Pictures Association Mr. Sakshi Mehra [email protected]

Motion Pictures Association of America Inc.

Mr. Uday Singh [email protected]

South Indian Film Chamber of Commerce

Mr. Shashi Balakrishnan

[email protected]

South Indian Film Exporters Association

Tamil Film Produces Council Mr. Thanu [email protected]

Tamilnadu Film Chamber of Commerce Mr. Abirami Ramanathan

[email protected]

Telugu Film Producers Council, Hyderabad

Mr. B. Shivaram Krishna

[email protected]

Telugu Film Producers Council, Chennai Mr. Edida Nageshwara Rao

The Indian Motion Picture Distributors Association

Mr. Ramesh Sippy [email protected]




INDEPENDENT FILMMAKERS-PRODUCERS

ALAN MCALEX

Jar pictures

[email protected]

AMIT CHHEDA

Shethia audio video pvt. Ltd.

[email protected]

ANAND RAMAYYA

Karma fi lm inc.

anand@karmafi lm.ca

ANUP SINGH

Saskia vischer productions

[email protected]

ARFI LAMBA

Bombay berlin fi lm production llp

arfi @bombayberlin.com

BIDHU BHUSHAN PANDA

Eleeanora images pvt. Ltd.

[email protected]

DAVID LOCKWOOD

Umbrella entertainment

[email protected]

DEEP SEHGAL

Avatar productions

deep@avatarfi lms.org

DEEPAK ASWANI

Handmade fi lms pvt ltd

[email protected]

FARHATULLAH BEIG

Honeybee media works

beig4fi [email protected]

GANDHARV SACHDEV

Celluloid entertainment pvt ltd

artecraftfi [email protected]

GAURI CHADHA

Chasing frames productions

[email protected]

GIRISH MALIK

One world fi lms pvt. Ltd.

girish@oneworldfi lms.in

GUNEET MONGA

Sikhya entertainment

[email protected]

HARISH AMIN

Speaking tree pictures pvt ltd

[email protected]

IMTIAZ BAROLIA

Zero gravity pictures

[email protected]

JAMAL DOUBA

Media link international

[email protected]

JASMINE JAISINGHANI

Iffl a

[email protected]

JULIA ROSENBERG

January fi lms

julia@januaryfi lms.ca

JUNAID MEMON

Nomad fi lms

junaid@nomadfi lmsindia.com

KATHARINA SUCKALE

Bombay berlin fi lm production

[email protected]

KAUSHIK MUKHERJEE

Overdose art pvt ltd

[email protected]

KAVEETA OBEROI KAUL

Kriya movies

[email protected]

MANJEET SINGH

Cinemanjeet creations

[email protected]




MANMEET SINGH

Vr fi lms & studios pvt ltd

[email protected]

MANU REWAL

Duniya vision / karma productions

[email protected]

NIKHIL MAHAJAN

Blue drop fi lms

[email protected]

NIKHIL SANE

Essel visionproductions ltd.

[email protected]

PARVIN DABAS

Very fi shy fi lms pvt ltd

veryfi shyfi [email protected]

PRAVESH BHARDWAJ

Medient studios india

[email protected]

RAJ AMIT KUMAR

Dark frames

[email protected]

RAJAN KHOSA

Elephant eye productions pvt. Ltd.

[email protected]

RAJESH JALA

The elements

[email protected]

RAJESH KUMAR JAIN

Krish movies

[email protected]

RAKESH MEHTA

Celluloid entertainment pvt ltd

[email protected]

RICKY SINHA

Khyati productionspvt. Ltd.

[email protected]

ROMAN JEDRKOWIAK

Adhd warsaw

[email protected]

RUPESH PAUL

Cinema verite

[email protected]

SAMIT KAKKAD

Akshara fi lms division

aksharafi [email protected]

SANDEEP KULKARNI

Kathakaar entertainment

[email protected]

SANJAY SURI

Anticlock fi lms

[email protected]

SHAHIN BAZIL

Century 21 visual media company

[email protected]

SHAZIA KHAN

Saffron fi lms

saffronfi [email protected]

SHRIHARI SATHE

Infi nitum productions

ssathe@infi nitum-productions.com

SUHRUD GODBOLE

Ime motion pictures

[email protected]

SUNIL DOSHI

Alliance media & entertainment pvt. Ltd

[email protected]

SUNIR KHETERPAL

Azure entertainment

[email protected]

SURESH K MENON

Motion fi lm picture inc

[email protected]

TAPAAS CHAKRAVARTI

Dq entertainment international limited

[email protected]

VASANTHAKUMAR

THIRUMAVALAVAN

Ajj fi lm services

[email protected]

VEENA BAKSHI

Shree narayan studios pvt ltd

[email protected]




VIKRAM SHERMA

Cvs fi lms

[email protected]

VIVEK RANGACHARI

Dar media pvt.Td.

[email protected]

VIVEK RANGACHARI

Dar media pvt. Ltd.

[email protected]

XAVIER D’SOUZA

Shree narayan studios pvt ltd

[email protected]

MARAR

Kreasen

[email protected]

This is just an indicative list. If you are looking for

an independent fi lmmaker who is not included in

this list, or have any query, mail us at

[email protected]






Cannes Film MarketIndia Pavilion111 International Village RivieraMay 14-24, 2015

www.indiaatcannes.com

in partnership with


MINISTRY OF INFORMATION AND BROADCASTINGGOVERNMENT OF INDIA

ROOM NO.107, FILMS WING, SHASTRI BHAVANDR. RAJENDRA PRASAD ROADNEW DELHI - 110 001 INDIA


FICCI Federation House, Tansen MargNew Delhi, India 110001

Tel: +91-11-23738760www.fi cci.com

Directorate of Film FestivalsMinistry of Information & Broadcasting

Government of IndiaSirifort Auditorium Complex,

August Kranti Marg, New Delhi- 110049Tel: 91 11 26499371

www.dff.nic.in; www.iffi .nic.in

in partnership with

FILM GUIDEINDIA

www.makeinindia.com

IND

IA F

ILM

GU

IDE

20

15

MIN

IST

RY

OF

IN

FOR

MA

TIO

N A

ND

BR

OA

DC

AS

TIN

G


Art & Photos

Film guide- Cannes International Film Festival