India at Cannes 2015

Ministry of Information & Broadcasting
Government of India
MINISTRY OF INFORMATION AND BROADCASTING
www.makeinindia.com

Government of India
INDIA
FILM GUIDE

GOVERNMENT OF INDIA
ROOM NO.107, FILMS WING, SHASTRI BHAVAN
DR. RAJENDRA PRASAD ROAD
NEW DELHI - 110 001 INDIA
Directorate of Film Festivals

Government of India
Sirifort Auditorium Complex,
August Kranti Marg, New Delhi- 110049
Tel: 91 11 26499371
www.dff.nic.in; www.if .nic.in
India at Cannes_Cover_with Spine_new.indd 1
Federation of Indian Chambers of

Commerce and Industry
FICCI Federation House, Tansen Marg
New Delhi, India 110001
Tel: +91-11-23738760
www.cci.com
INDIA FILM GUIDE 2015
in partnership with
Cannes Film Market

India Pavilion
in partnership with
111 International Village Riviera

May 14-24, 2015
www.indiaatcannes.com
30-04-2015 22:26:20
30-04-2015 22:27:12
India_Film_Guide_2015_Pages_1-68.indd 1
05-05-2015 17:13:52
CONTENT
FILM SECTOR
INITIATIVES
INDIAN FILM
PRODUCTION CENTRES
25
INDIAN FILMS AT CANNES
11
69
FILMING IN INDIA
151
05-05-2015 17:13:53
NATIONAL FILM
AWARDS
FILMS FOR
SALES AND
SYNDICATION
75
INDIAN COMPANIES AT CANNES
FILM MARKET
101
131
KEY INDUSTRY CONTACT LIST 237
05-05-2015 17:13:53
05-05-2015 17:13:55
Message
Cannes Film Market
05-05-2015 17:13:54
05-05-2015 17:13:55
Message
Cannes Film Market
05-05-2015 17:13:55
05-05-2015 17:13:56
Foreword
Cannes Film Market
05-05-2015 17:13:56
05-05-2015 17:13:56
FILM SECTOR
INITIATIVES
Film Policies of the Ministry of

Information and Broadcasting
05-05-2015 17:13:57
Film Sector Initiatives
Ministry of Information and

Broadcasting Government
of India
he Ministry of Information and Broadcasting, through
the mass communication media consisting of
radio, television, 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 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 elds of mass media, lms
and broadcasting and interacts with its foreign counterparts
on behalf of Government of India.
Ministry of Information &

Broadcasting
Government of India
SPOT INFORMATION
+ 91 11 23384995
WEBSITE
www.mib.nic.in
EMAIL
moib@nic.in
jsfilms.inb@nic.in
MINISTER FOR
INFORMATION &
BROADCASTING
Shri Arun Jaitley
MINISTER OF STATE FOR
INFORMATION &
BROADCASTING
Col. Rajyavardhan Rathore
SECRETARY
Bimal Julka
JS FILMS
K. Sanjay Murthy
DIRECTOR (DFF)
C Senthil Rajan
India Film Guide 2015
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 lm industry.
Organization of 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 certication of lms.
12
05-05-2015 17:13:58

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 eld of information & mass media
The execution of the lm mandate of the Ministry of

Information & Broadcasting is carried out through
the following bodies
Films Division
Central Board of Film Certication
National Film Archives of India
IFFI Secretariat
Film and Television Institute of India, Pune
Childrens 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
elds of mass media, lms and broadcasting and
interacts with its foreign counterparts on behalf of
Government of India.
Cannes Film Market
13
05-05-2015 17:14:00
Single Window for Film

Shooting in India Film
Facilitation Unit
The Ministry of Information & Broadcasting is in the
process of setting up of a Film Facilitation Unit
i.
single window service for promoting

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:-
Act as a facilitation point for the lm

producers in assisting them to procure
requisite permission.
ii. Disseminate information on shooting

locations and the facilities available with
the Indian 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

GOVERNMENT OF INDIA
SHASTRI BHAVAN, NEW DELHI - 110001 INDIA
Email: us-moib@nic.in
PH: +91-11-23384995
14
05-05-2015 17:14:02

lmmaker would submit the script to the
Ministry of Information & Broadcasting for
clearance as before.
also include information on state-wise

facilities like transport, hospitality, medical
services and other local information for the
applicants.
Effectively, the single window system for

lm shoot permission will enable lmmakers
to pursue their respective cases with the
Ministry of Information & Broadcasting and
not deal with various Ministries, departments
and agencies.
After making an application online, 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
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 lm producers.
Cannes Film Market
15
05-05-2015 17:14:03
Audio Visual Co-Production

Agreements
It is now possible for lmmakers of different countries
to come together and make lms under bilateral
co-production agreements.
production
and other purposes. In India, it is
p
the
t Ministry of Information and Broadcasting,
Government
of India.
G
The
T Agreements identify who the co-producers
can
c be, the minimum and maximum permissible
share
of each co producer, possibility of co
s
producers
from third countries, provisions
p
for
f sharing of revenue, copyrights and prizes.
They
also provide for contribution by the coT
producer of each country and incurrence of
production and post-production expenses,
shooting etc in each country for artistes.
ndia
di
has
h
signed
i
d A
Audio-Visual
di Vi l coproduction 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 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.
Many countries provide access to public funds

or subsidized funds to lmmakers. The lms
co-produced under these agreements are also
eligible for such nancing. Collaborations for
an Indian lmmaker would include knowledge
and use of different technical expertise and
processes, exchanges of styles of lmmaking,
sales and distribution of 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.
It is now possible for lmmakers of different

countries to come together and make lms
under bilateral coproduction agreements.
New markets and audiences would be available
for the product, especially if collaborations
and partnerships are between nationals of
different countries.
The Government of India does not provide

direct public funds or subsidized co-production.
However, lmmakers can apply for nancial
support of co-production lm projects through
National Film Development Corporation.
Each agreement identies the Competent

Authority for the country concerned to whom
applications are made for approval as co
16
05-05-2015 17:14:05
Co-production agreements help

producers to pool in their resources
and gain wider market accessibility.
equipment needed for lmmaking. These are
coupled with the comparatively low costs of
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.
India has a huge advantage of being part of

a growing lm industry and a huge audience.
The other benets are that the co-production
is treated exactly like a national 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
Cannes Film Market
Text of Indias co-production agreements:

p. 179 onwards
17
05-05-2015 17:14:08
New Cinematograph Act

The Government is set to amend the Cinematograph
Act 2052, to enable it meet the present day challenges
and make the entire certication process transparent
and speedy
oon, 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 certication process. Duly taking
into consideration recommendations of experts
and stake holders, the amended Act is expected
to address, among others, the following :-
Stringent Penalties for piracy
Piracy is one of the major concerns of the lm

industry. The proposed amendment seeks
to address this issue effectively by bringing
in stringent penal provisions for copy right
violations.
Online Certication Process- The existing online
mechanism of Central Board of Film Certication
would be strengthened and the entire certication
process right from application stage to issuance
of certicate, 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.
Composition of Advisory panels and their

selection process;
Guidelines for certication;
Classication of certication of lms in a
more modern and universal manner;
Enhancing the jurisdiction of the Appellate
Tribunal.
Bringing in stringent penal provisions for copy
right violations.
18
05-05-2015 17:14:12
Taking piracy out

of Indian cinema
The Indian government has been taking a lot of
initiatives to do away with piracy.
A dedicated web portal.
inistry
of
Information
&
Broadcastings proposals for carrying
out an Anti-Piracy Initiative in the
audio-visual sector.
Production of a lm/documentary.
Engaging with M/o HRD with the goal of
including anti-piracy awareness material
in the curriculum of the schools and
colleges.
Dissemination of multi-media campaigns on

piracy through audio-visual media, internet,
print media, etc.
Road shows /Street Plays on creating

awareness among society.
Training programmes and workshops to

sensitize police, judicial, administrative
ofcials, multiplex and cinema hall owners
about the Copyright Act.
Programme on building awareness in

Schools & Colleges through Debate/Essay
writing/painting competitions.
Conduct of research on the effects of

piracy and to enable development as
well as implementation of public-private
strategies to combat piracy.
Cannes Film Market
This scheme will be implemented through

leading business chambers like FICCI,
ASSOCHAM, CII and others.
19
05-05-2015 17:14:14
National Museum of
Indian Cinema
The museum will be a ready-reckoner of the history of
Indian cinema during the past 100 years.
The "National Museum of Indian Cinemas" will

not only provide a store house of information
to the laymen but it will also help lm makers,
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.
he 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 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 benet
of visitors/lm enthusiasts; To arrange
seminars, workshops for lmmakers & lm
students; To generate interest in the future
generation in the eld of lm movement.
The museum will be a ready-reckoner of

the history of Indian cinema showcasing
technological aspects of production and
20
05-05-2015 17:14:15
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 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.
screening of 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 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
lmmaker Shyam Benegal has guided the
Films Division in establishing the museum.
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.
Visitors can also watch clips of old classics on a

number of monitors or listen to rare 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.
Cannes Film Market
21
05-05-2015 17:14:18
National Film
Heritage Mission
National Film Heritage Missions aim is to restore and
archive lms for preservation and dissemination of
Indian lm cultural heritage.
The following are the objectives of the NFHM:
he Ministry of Information &

Broadcasting has launched the National
Film Heritage Mission (NFHM) to digitize
best of Indian cinematic works and archive
them for the benet of future generations.
To undertake lm condition assessment of

the lm collection and to ascertain the left
over life of the lm.
Preventive conservation of lm reels.
NFHM is now functional to take care of

digitization and restoration of lm heritage
and is being implemented by National Film
Archive of India, Pune.
2k/4k picture and sound restoration of

landmark feature lms and shorts of
Indian cinema and recording of new
picture and sound inter-negatives of each
lm.
NFHMs aim is to restore and archive lms for

preservation and dissemination of Indian lm
cultural heritage. It will restore and conserve
precious and classic lms of the past 100
years of Indian cinema.
Digitization of feature 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 will also conduct training, workshops

and courses in eld of conservation,
preservation and archiving in co-ordination
with international agencies that are experts in
this eld.
NFHMs aim is to restore and archive lms for

preservation and dissemination of Indian lm
cultural heritage. It will restore and conserve
precious and classic lms of the past 100
years of Indian cinema.
22
05-05-2015 17:14:22
National Centre for

Excellence in Animation,
Gaming and Visual Effects
The National Centre for Excellence will establish and
implement benchmarks in teaching and training standards of the sector and provide a leadership vision to the
whole industry.
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.
he 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.
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 (efcient
human resource) platform for related projects
The centre aims to become a self sustainable,

creativity driven and industry friendly institution
that promotes high quality education and
research
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.
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.
Cannes Film Market
Towards maintaining high standards in

imparting education in the 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.
23
05-05-2015 17:14:24
05-05-2015 17:14:25
INDIAN FILM
PRODUCTION
CENTRES
Top lmmaking centres of India

05-05-2015 17:14:26
Indian Film Production Centres
INDIA FACTS
THE OFFICIAL PORTAL
http://india.gov.in
POLITICAL SYSTEM
Democracy
POPULATION
1.2 billion
CAPITAL
New Delhi
ADMINISTRATIVE
DIVISIONS
29 States and
7 Union Territories
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.
26
05-05-2015 17:14:27

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.
CURRENCY
Rupee
TELEPHONE CODE
+91
TIME ZONE
IST
INTERNET
.in
Cannes Film Market
27
05-05-2015 17:14:27
28
05-05-2015 17:14:27
CUTTACK
Cannes Film Market
29
05-05-2015 17:14:31
FILMMAKING
CENTRES OF
INDIA
ndia is probably the worlds 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 lms are produced in several centres
around the country. Each of these lmmaking
cities serves as the hub of cinema in one
prominent language.
Mumbai, regarded as Indias movie capital,

hosts the Hindi lm industry that has a panIndian footprint. Marathi-language lms are
also produced in the city that is inextricably
intertwined with the history of Indian cinema.
Chennai, Kolkata, Hyderabad, Thiruvananthapuram, Bangalore, Bhubaneswar and
Guwahati are the other major Indian cities
where lms are produced.
While the distribution of these so-called
regional 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
30
05-05-2015 17:14:32
India is the largest lm producing

country in the world and its output
has a global reach. Here are top
lmmaking Indian cities which
serve as the hub of cinema in their
respective regional languages.
Indian lms are produced in several centres

around the country. Each of these
lmmaking cities serves as the hub of cinema
in one prominent language
Cannes Film Market
31
05-05-2015 17:14:32
32
05-05-2015 17:14:32
Mumbai
Maharashtra
A large chunk of the Hindi 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 conict and music.
he bustling western Indian metropolis is

the heart of the Indian movie industry,
producing nearly 200 lms a year in the
Hindi language.
and emotionally satisfying entertainment to

the masses; the other designed to appeal to a
niche audience with a taste for more realistic
movies.
It also, along with the nearby city of Pune,

produces Marathi-language lms, which, in
the silent era and beyond, thrived in the hands
of pioneering stalwarts like V Shantaram and
Bhalji Pendharkar, among others.
There have of course been occasions when

these two separate approaches have merged
in the same lm and resulted in timeless
classics such as Mother India, Mughal-eAzam, Deewar and Lagaan.
A large chunk of the Hindi lms produced in

Mumbai constitute what is usually described
as Bollywood, a label used for an old cinematic
tradition built on a formulaic and crowdpleasing mix of melodrama, romance, moral
conict and music.
The A-list Mumbai cinema stars, objects of

adulation around the country and by the Indian
Diaspora, power the mainstream Bollywood
industry.
This extravagant form of storytelling is

extremely popular in the other 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 lmmaking one aimed at providing glitzy
Cannes Film Market
Mumbai played a key role in the evolution of

parallel lms in the late 1960s and 1970s,
thanks to the efforts of directors like Shyam
Benegal and Govind Nihalani.
Its 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.
33
05-05-2015 17:14:41
34
05-05-2015 17:14:42
Chennai
Tamil Nadu
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.
hennai (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 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 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.
Cannes Film Market
Hindi versions of Tamil box ofce hits as well

as bilingual productions mounted in Chennai
have been successful around India ever since
1948s Chandralekha opened the sluice-gates
for nationally distributed lms from this part
of India.
The dominant strain of Tamil movies, like that
of Hindi popular cinema, hinges on the crowdpulling 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 lms
from young directors working outside the
conventional star system with great success.
For audiences around the country, Mani
Ratnam, who also makes lms in Hindi, is one
of the better known Chennai directors.
35
05-05-2015 17:14:48
36
05-05-2015 17:14:49
Kolkata
West Bengal
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.
engali-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
citys 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 lms here
well before Indias ofcially recognized rst
full-edged ction lm, D.G. Phalkes 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.
Cannes Film Market
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 lms that
struck a ne balance between artistic merit
and commercial potential.
More than their counterparts in any of the other
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.
37
05-05-2015 17:14:51
38
05-05-2015 17:14:51
Hyderabad
Andhra Pradesh
On several occasions in the last decade,
Telugu lms accounted for more releases
in a year than cinema in any other Indian
language, including Hindi.
yderabad is the hub of Telugu cinema,

which is one of the most prolic 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
lms accounted for more releases in a year
than cinema in any other Indian language,
including Hindi.
Many big-budget Hindi and Tamil lms
are ofcial remakes of Telugu hits, a sure
measure of the mass appeal of movies made
in Hyderabad.
Cannes Film Market
In terms of artistic quality and global

recognition, Telugu cinema may lag behind
lms made in Malayalam and Tamil, but it
continues to be the most robust of the southern
industries.
Hyderabad has some of Indias best 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.
39
05-05-2015 17:14:52
40
05-05-2015 17:14:52
Thiruvananthapuram
Kerala
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.
hiruvananthapuram
(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 lms were made in the state in the

silent era, cinema in Kerala was late to ourish
and at the time of Indias Independence in
1947, only a handful of Malayalam 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
Cannes Film Market
and directors such as Adoor Gopalakrishnan

and Shaji N. Karun and the late G. Aravindan
are feted at lm festivals around the world.
When Malayalam cinema began to assume
the proportions of a full-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 lms
made by Adoor and Aravindan in the 1970s
and 1980s. The tradition of making realistic
and meaningful cinema continues to this day.
41
05-05-2015 17:14:58
42
05-05-2015 17:14:59
Bangalore
Karnataka
The 1950s marked the advent of
Dr. Rajkumar, whose popularity
as a lead actor in mythological epics helped
Kannada cinema achieve new heights.
n Bangalore, Indias Silicon Valley, lms

are made in the Kannada language. The
rst Kannada lm was made in the talkie
era, and the industrys 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
Cannes Film Market
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 nancial clout of Tamil and Telugu lms.
43
05-05-2015 17:15:01
44
05-05-2015 17:15:01
Lucknow
Uttar Pradesh
Patna
Bihar
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.
he 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 rst-ever Bhojpuri-language 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
Cannes Film Market
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 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 lms continue to be
exceedingly popular. But since most of these
lms are made on tight budgets and follow
rushed production timelines, they tend to be
rather low on technical nesse.
45
05-05-2015 17:15:02
46
05-05-2015 17:15:03
Bhubaneswar
Odisha
Odia cinema developed its own idiom
thanks to the efforts of Gour Prasad Ghosh
and Parbati Ghosh. The duo produced
several National Award-winning lms,
including the epochal Kaa.
n the eastern Indian state of Odisha,

lms are made in Bhubaneswar and
Cuttack.
Biswal, who produced four hugely popular

lms. His rst production, Nua Bou, created a
sensation all across the state of Odisha.
The rst Odia-language lm was made in

1936, but until the 1950s only a handful of
more titles were produced.
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 lms, including the
epochal Kaa.
Back then, the Odia 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 difcult and unviable.
In the late 1950s, the rst cooperative venture
to produce, distribute and exhibit Odia lms was
set up by Krushna Chandra Tripathy.
The organization was named Utkal
Chalachitra Pratisthan, and it produced
several 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
Cannes Film Market
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 Chennais Prasad Studios.
Odisha currently produces an average of
20 lms a year.
47
05-05-2015 17:15:03
48
05-05-2015 17:15:04
Guwahati
Assam
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.
ssamese lms, produced in northeastern Guwahati, are a constant

presence in Indias National Awards.
Yet the lm industry in Assam remains
commercially unviable.
Constantly under the shadow of Bollywood

lms, the state has not been able to develop
a distribution and exhibition system that can
prop up locally made 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 lmmaker Bhabendra Nath Saikia
and the still-active Jahnu Barua shine bright.
And there is more

Besides the above production centres, lms are made in Manipuri in
Imphal, in Gujarati in Ahmedabad, and in Punjabi in Chandigarh. Indian
lms are also made in numerous dialects.
Cannes Film Market
49
05-05-2015 17:15:05
05-05-2015 17:15:06
INDIAN FILM
SECTOR
Higlights from
FICCI-KPMG Report 2015
Cannes Film Market
51
05-05-2015 17:15:07
Indian Film Sector Highlights
Films: New Growth

Prospects
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 lms in theatres
the rest of the lms took a beating either in
terms of price or ability to sell the title. There
were very few bulk deals and certain lms,
despite crossing INR1 billion at the box ofce,
were unable to nd buyers.
014 could well be termed as the year of

introspection and reality check for the
Indian lm industry. During the year,
the gap between box ofce collections of the
top 10 lms and the contribution of the rest of
the industry widened further. The category-A
lms with top league actors continued to
perform well at the box ofce, however the
same was not true for lms which lacked
both strong content and a top league actor
to attract audiences to the theatres. Industry
discussions indicate that 2014s content did
not deliver at par with 2013. While there were
strong content driven lms this year which
delivered high returns on investment, the
proportion of such 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 lms in theatres.
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 chainsHDIL Broadway, Big Cinemas and Stargaze
Entertainment. Further, consolidation has
brought multiple benets to the otherwise
fragmented industry.
Now, 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 lm. Additionally,
consolidation is stimulating growth in the incinema advertisement platform. Advertisers
are now offered a far greater reach and
Television broadcasters became more

strategic with their lm acquisition budgets,
signicantly impacting the Cable & Satellite
rights (C&S) of most lms. While prices of
category-A lms continued to hold ground,
52
05-05-2015 17:15:08

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%
126.4
136.3
155.6
170.7
186.3
204.0
10.0%
Total
Source: KPMG in India analysis
address the fundamental issues plaguing the

protability 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
lm makers back to their drawing boards to
reassess the viability of their future projects.
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 efciency
of the medium.For exhibitors the obvious
benet of economies of scale is being reected
through rationalisation of cost structures.
The industry (production houses) needs to
take a step back and deliberate on how it can
Cannes Film Market
53
05-05-2015 17:15:10
INDIAN M&E
INDEX
$1.5
billion
2014
Box Office
Collections
826
TV Channels
161million
TV Households
1500
Feature films
produced in India
275million
Internet
User base
Mobile Subscribers
When you look at the

worldand pick your
marketsyou have to
believe India is one of
the major markets of the
1st century
Bob Bakish, president
of Viacom International
Media Networks
Bollywood is Indias
biggest cultural
export
175 million entertainment
Grammy-nominated DJ
Mobile
and producer Paul van
Internet Users
Dyk
960 million
India has 7 screens

per million people in
comparison with
125 per million in the US.
TV revenue in India is
set of to grow at a 14%
annual CAGR in the
years 2014 through 2018
according to KPMG
54
05-05-2015 17:15:11
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
INDIAN M&E
INDEX
Television
Grew by
Films
Grew by
14%
10%
Radio
Grew by
Print
Grew by
18%
8%
Animation&VFX
Grew by
Gaming
Grew by
13%
22%
Digital Advertising
Grew by
Search and display lose

share to Social (18%),
Mobile (14%), and
Video (12%)
Cannes Film Market
45%
55
05-05-2015 17:15:13
Production
Increasing corporatisation and professionalism in the
Indian lm fraternity has started to pave way for the
establishment of lm and entertainment focussed
investment funds
on pre-production activities such as concept
development, audience research, etc.
he Indian lm production landscape is

highly fragmented with a combination of
few renowned indigenous lm production
houses, international studios and numerous
independent lm producers.
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.
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.
Increasing corporatisation and professionalism

in the lm fraternity has started to pave way for
the establishment of lm and entertainment
focussed investment funds. 2014 saw launch
of four new venture funds focussing on this
industry.
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 lms are produced in India by
bringing in leading industry practices of lm
production from western markets, thereby
increasing efciency and placing greater focus
The four new venture funds are Indus Media

Capital, HBS Raksha Movies Fund, Bend it Media
and Third Eye Cinema Fund (TECF).
56
05-05-2015 17:15:15
Distribution
Like box ofce collections, the number of tweets,
Facebook likes and YouTube hits have also become
an important key performance indicator (KPI) for the
movie succes
becoming a challenge for lms with tight
budgets as there is a minimum spend required
to reach a threshold audience base. P&A cost
for a Category A lm (released across 3000+
screens) can be anything above INR200
million, for a Category B lm it could range
between INR 150-180 million and for a
Category C lm at least INR 100 million.
igitisation of screens has allowed

distributors
to
release
lms
simultaneously across thousands of
screens, as a result of which almost 60-80 per
cent of theatrical revenues are now collected
in the rst week of release,06 compelling
lmmakers to generate enough buzz to attract
maximum footfalls within the rst weekend
itself.
Given this backdrop, many lmmakers have

started exploring campaign and box-ofce
analytics to gauge the effectiveness of their
campaign and take appropriate measures to
maximise the return on investments. Various
rms such as IBM, Persistent Systems, Google,
Prime Focus Technologies mGage, Ormax etc.
are now offering solutions especially designed
for the lmmakers to make strategic decisions
about their budgets, conduct costbenet
analysis with minimal risks, measure audience
engagement across various touch points.
Thus, marketing budgets which were negligible

a decade back, now account for a signicant
portion of the overall cost of production.
Additionally, 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 ofce collections,
the number of tweets, Facebook likes and
YouTube hits have also become an important
key performance indicator (KPI) for the movie
success.
The release window continues to play an

important role in deciding the release strategy
for any lm. The lmmakers consciously decide
to release their 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
ofce.
Film-based mobile applications and games

have become an emerging trend while citywise 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
Cannes Film Market
57
05-05-2015 17:15:17
Exhibition
In 2014 Indian lms further increased their reach.
Hindi 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
where there are 125 screens per million
people.
014 saw another round of consolidation

with Carnival Cinemas 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.
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
ofce collections for most Hindi 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
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 lms. There are just 7 screens
per million people in India, unlike in the U.S.,
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 rst three quarters and
slower growth in average ticket prices (ATP).
58
05-05-2015 17:15:19

the total gross collections of an Indian movie
is collected from overseas theatrical compared
to 60 per cent for Hollywood industry.
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 ve years.
In 2014 Indian lms further increased their

reach. Hindi 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 gross box ofce collections of top 10

Hindi 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 lms the
box ofce 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 ofce
collections of lms ranking 21 to 50 sliding
further compared to previous years (2012 and
2013). The drop has been extreme in case of
lms ranking 41 to 50 where the total box
ofce collections of these lms dropped by 48
per cent in 2014 as compared to 2013.
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 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.
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.
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 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.
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 20142019.
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
Cannes Film Market
59
05-05-2015 17:15:21
Regional Markets
Regional 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
experimental 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 ofce.
014 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 lm
industries undoubtedly left their mark at the
box ofce in 2014. While the Marathi lm Lai
Bhaari made with a budget of INR 80 million
had a box ofce 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 ofce. The Bengali lm industry did
not have a great year as the few category-A
lms failed to attract audiences to theatres.
The Telugu lm industry, which is similar to

the Hindi 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 ofce 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 lms shortlisted by the
Film Federation of India (FFI) for the 87th
Oscar Awards.
Individually, the Tamil industry needs to nd a
workaround to be able to offer enough cinema
screens to a movie, considering on an average
four to ve Tamil 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 lms still lag behind in terms
of content and production values, albeit the
rise in number of productions in a year.
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 rst
Tamil movie to enjoy the widest release across
5,000 screens worldwide. Besides cashing in
big at the ticket counter, the Tamil lm industry
also stood out for its proclivity to produce
60
05-05-2015 17:15:22

Box ofce performance of select regional lms
Movie
Language
Budget
Gross Box Ofce
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 little

gems outclassed big guns in southern cinema
In INR millions
Bengali 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.
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 lm I was
released across 5,000 screens in China alone.
OVERSEAS THEATRICALS
The Punjabi 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.
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 lms as well. Kaka Muttai and
Char Sahibzaade performed extremely well
in non-traditional markets such as Canada and
New Zealand.
Bengali lms are still restricted to 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.
Tamil lms derive 90 per cent of their overseas

demand from four key markets - U.S., Malaysia,
Cannes Film Market
61
05-05-2015 17:15:24
Hollywood in India
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
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 ofce and generated
close to INR2.1 billion30 in gross box-ofce
collections in India.
014 was a good year for Hollywood lms

in India, the gross box ofce collections
of top 10 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,
Though franchise and superhero movies draw

wider audience, small budget movies with
stronger scripts have also performed well.
Top 10 Hollywood 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
62
05-05-2015 17:15:26
Fast And Furious 7 has ofcially become the rst Hollywood lm

to enter Rs.100 crore club in India.
The James Wan-directed movie - which is the last lm in the
series to star late actor Paul Walker - hit the impressive gure in
a three weekends. The lm has earned Rs.104 crore net till now
in the domestic box ofce. (April 20, 2015). Apart from English,
the lm released in Hindi, Tamil and Telugu on April 2 in India.
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.
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 boxofce collections in their respective opening
weekends.
Initially aimed at the English speaking Indian
audience, lm studios are now realising the
Cannes Film Market
63
05-05-2015 17:15:28
Monetisation of
Digital Video Content
For all the convenience and exibility of streaming
content on to smartphones and tablets, the viewing
experience on a high-denition 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
digital branded content.
hile 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
efcacy 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 afuent
demographics for whom consumption habits
have shifted signicantly 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.
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 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
Besides pure play advertising, platforms and

advertisers alike are also exploring made-for
64
05-05-2015 17:15:30

VOD Platforms in India
iTunes Store
Google Play store
Movies, TV shows, music, games,

books, podcasts
40,000+ movie titles and 190,000+

TV shows
Movies, TV shows, games, books in

English, French, Spanish and Hindi
Hotstar.com / Starsports.com
Ditto TV
TV shows from the Star stable in

seven languages
~150 live TV channels
~300 movies
TV shows from the Zee stable and

other broadcasters
Sports including live content
~3,000 movies across all major

Indian languages and English
Sony LIV/LIV Sports
Eros Now
All content from Sony Entertainment

banner
Sports including live content
~ 3,500 movies, including all of Eros

Internationals 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
Bigix
Movies in Hindi and English
TV content primarily from Sony, Big

Magic and library content
~ 2,000 movies in 13+ languages
Hungama.com
Spuul.com
1000+ movies from most major

production houses in India in Hindi
and regional languages
Hindi and Regional TV content,

primarily from Viacom18
900+ movies in 8+ languages
Cannes Film Market
65
05-05-2015 17:15:32
DishOnline
Everywhere TV
50+ live TV channels
75 live TV channels
Catch up TV content
catch up TV content from 24 channels
Movies
Movies
Pocket TV
Direct2Mobile
150 live TV channels
78 live TV channels
Catch up TV content from 13 channels
Catch up TV content
Movies
Movies
subscription package costing INR120 (USD 2)

has gained signicant traction.
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.
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:
Q Low credit card penetration
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.
Q Fear of using netbanking and credit cards

online due to security threats
Q Lack of experience in using e-wallet/mwallet
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.
Currently, existing TV and 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.coms
paid streaming for ICC Cricket WC 2015 for a
66
05-05-2015 17:15:33

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.
OVER-THE-TOP DEVICES: THE FUTURE

TREND
For all the convenience and exibility of
streaming content on to smartphones and
tablets, the viewing experience on a highdenition 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 difculty in receiving software updates
on smart TVs. These OTT devices could be
dedicated IP streaming devices such as Apple
Content is king on digital platforms

as well
While content will be one of the critical success factors, according to industry participants, it is also expected to be the
biggest drain on cash ows for digital video platforms.
The content licensing deals for digital rights largely remain on
minimum guarantee basis, while there are some deals, especially for ongoing TV shows and live TV streaming that are taking place on revenue share basis. Even internationally, in spite
of its scale, majority of the content deals for Netix are on a
xed cost basis and content costs constituted over 70 per cent
of revenues for Netix in 2014.
Cannes Film Market
67
05-05-2015 17:15:35
05-05-2015 17:15:37
INDIAN
FILMS AT
CANNES
Ofcial Film Selections from India at

Cannes International Film Festival
India_Film_Guide_2015_Inner_Pages_69-150.indd.indd 69
05-05-2015 17:59:01
Indian Films at Cannes
UN CERTAIN REGARD
Un Certain
Regard
CHAUTHI KOOT
by Gurvinder Singh
Screening Date and Time:
International Sales Contact:
15 May: 4:30 pm, Salle Debussy
Elle Driver
16 May: 11 am, Salle Bazin
Eva Diederix, Managing Director

eva@elledriver.eu
22 May: 10 pm, Salle Debussy
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 finds himself trapped
between the army and the extremists.
70
05-05-2015 17:59:02
Credits
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 Cinmas 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
Cannes Film Market
71
05-05-2015 17:59:03
Un Certain
Regard
MASAAN
by Neeraj Ghaywan
Screening Date and Time:
International Sales Contact:
19th May, at 5PM.
Themba Bhebhe
Pathe International,
themba.bhebhe@pathe.com
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.
72
05-05-2015 17:59:03
Credits
Drishyam Films presents A Macassar Productions,
Sikhya Entertainment & Phantom Production
Directed by Neeraj Ghaywan
Produced by Manish Mundra, Mlita Toscan du Plantier and Marie-Jeanne Pascal,
Guneet Monga, Shaan Vyas, Vikas Bahl, Vikramaditya Motwane & Anurag Kashyap
CoProducer 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
Cannes Film Market
73
05-05-2015 17:59:04
05-05-2015 17:59:04
NATIONAL
FILM AWARDS
Winners of the 62nd National Film

Awards for the year 2014
Cannes Film Market
75
05-05-2015 17:59:05
Indian National Film Awards 2014

INDIRA GANDHI AWARD FOR BEST
DEBUT FILM OF A DIRECTOR
BEST
FEATURE
FILM
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 nesse.
BEST POPULAR FILM PROVIDING

WHOLESOME ENTERTAINMENT
Court
(Marathi, Hindi,
Gujarati &
English)
Mary Kom (Hindi)
Producer: Zoo
Entertainment Pvt. Ltd.
Producer: Viacom 18 Motion Pictures

Director: Omung Kumar
Director: Chaitanya
Tamhane
Swarna Kamal and

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

` 2,50,000/- each to the
Producer and Director
For an inspiring tale of a woman who becomes a national

icon through her determined pursuit of sporting excellence.
COURT is a powerful and

stark depiction of the
mundaneness of judicial
procedure
revealed
brilliantly by the lms
form, forcing us to reect
on the heartwrenching
insensitivity of institutional
structures.
BEST FILM ON SOCIAL ISSUES
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.
76
05-05-2015 17:59:06

BEST FILM ON ENVIRONMENT
CONSERVATION/PRESERVATION
BEST ACTOR
Ottaal (Malayalam)
Producer: Director Cutz Film Company (P) Ltd.
Director: Jayaraj
Rajat Kamal and
Nanu Avanalla
Avalu (Kannada)
Ottaal, a visual poem, expresses the beauty and serenity of

the protagonists rural environment and a way of life whose
value is measured by the poignancy of its loss.
BEST CHILDRENS FILM
Vijay
Rajat Kamal and
` 50,000/For his subtle and
nonstereotypical playing
of a woman trapped in a
mans body, portraying
a gamut of emotions as
s/he struggles through
confusion, rejection and
humiliation to nally
chart her own course
with condence and
dignity.
Kaakkaa Muttai (Tamil)

Producer: Grass Root Film Company
Director: Manikandan M
&
Elizabeth Ekadashi (Marathi)

Producer: Essel Vision Productions Ltd.
Director: Paresh Mokashi
Swarna Kamal and
(Cash component to be shared between 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 reafrms
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 reexive use of the cinematic idiom through a playful and innovative
mise-en-scene that tautens to an unexpected and gripping climax.
Cannes Film Market
77
05-05-2015 17:59:09

BEST ACTRESS
BEST CHILD
ARTIST
Queen (Hindi)
Kangana Ranaut
Rajat Kamal and
` 50,000/For an endearingly etched out performance that is grounded
in contextual specicity and at the same time is disarmingly
spontaneous as to appear almost improvisatory.
BEST SUPPORTING ACTOR

Kaakkaa Muttai
(Tamil)
J. Vignesh
AND
Jigarthanda (Tamil)
Bobby Simhaa
Ramesh
Rajat Kamal and

` 50,000/-
Rajat Kamal and

` 50,000/- (Cash
component to be shared)
For an engaging portrayal of a dreaded Maa don who plays

both the villain and the comic with a rare amboyance and
abandon.
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.
BEST SUPPORTING ACTRESS
Pagdi The Honour (Haryanavi)

Baljinder Kaur
Rajat Kamal and
` 50,000/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.
78
05-05-2015 17:59:11

BEST MALE PLAYBACK SINGER
BEST EDITING
Haider (Hindi)
Sukhwinder Singh (For the song Bismil)
Rajat Kamal and
` 50,000/For a powerful rendition which effectively reects the agony
and anger of the protagonist.
BEST FEMALE PLAYBACK SINGER

Saivam (Tamil)
Jigarthanda
(Tamil)
Uthara Unnikrishanan (For the song Azhagu)
Vivek Harshan
Rajat Kamal and

` 50,000/-
Rajat Kamal and

` 50,000/-
For evoking an emotional resonance through the purity and

innocence of her voice.
For structuring the

different narratives of
raw cruelty and urban
cunning that eventually
intermingle with
positive and humourous
overtones through
skillful editing.
BEST CINEMATOGRAPHY
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 lm.
Cannes Film Market
79
05-05-2015 17:59:13

BEST SCREENPLAY
BEST MAKE-UP
ARTIST
i) Screenplay Writer (Original)
Srijit Mukherji
Rajat Kamal and
` 50,000/-
Nanu Avanalla
Avalu (Kannada)
Chotushkone for the masterful telling of a taut suspense

thriller which weaves a sinister web around the journey and
lives of four egotistical characters.
Nangaraju & Raju
ii) Screenplay Writer (Adapted)
Rajat Kamal and

` 50,000/-
Ottaal (Malayalam)
For the realistic creation

of gender duality in
a character through
different phases of life.
Joshy Mangalath
Rajat Kamal and
` 50,000/Ottaal for beautifully transposing Anton Chekovs short
story onto a canvas of nature that enhances the shades of
the original.
iii) Dialogues
BEST COSTUME
DESIGNER
Haider (Hindi)
Vishal Bhardwaj
Rajat Kamal and
` 50,000/Haider for the multi layered and resonant dialogues that
evoke angst and passion with crispness and brevity.
Haider (Hindi)
BEST PRODUCTION DESIGN
Dolly Ahluwalia
Rajat Kamal and
` 50,000/For capturing the essence
of the characters and
moods with creative
ourish.
Nachom IA Kumpasar (Konkani)

Aparna Raina
Rajat Kamal and
` 50,000/For convincingly recreating spaces from a different era and
with minute attention to detail.
80
05-05-2015 17:59:16

BEST LYRICS
BEST MUSIC
DIRECTION
Saivam (Tamil)
(Azhagu)
NA. Muthukumar
Rajat Kamal and ` 50,000/-
i) Songs
Haider
For embodying the world as seen through the eyes of a child

using common place images to make an appeal to an adult
world.
(Hindi)
BEST AUDIOGRAPHY
Vishal Bhardwaj
Rajat Kamal and
` 50,000/For
developing
the
conict of the inner and
outer landscape through
haunting music.
ii) Background
Score
1983 (Malayalam))
Gopi Sunder
Rajat Kamal and
` 50,000/For maintaining the tempo
of the lm with an in-sync
background score.
i) Location Sound Recordist
Khwada (Marathi)
Mahaveer Sabbanwal
Rajat Kamal and
` 50,000/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
Rajat Kamal and
` 50,000/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 nal mixed track
Nirbashito (Bengali)
Anirban Sengupta & Dipankar Chaki
Rajat Kamal and
` 50,000/Nirbashito for the seamless movement from chaos into the
quietness of solitude while integrating various elements of sound.
Cannes Film Market
81
05-05-2015 17:59:18

BEST CHOREOGRAPHY
Haider (Hindi)
(Bismil)
Sudesh Adhana
Rajat Kamal and
` 50,000/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 rmly
embedded within the narrative.
SPECIAL JURY AWARD

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.
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.
82
05-05-2015 17:59:20

BEST ASSAMESE FILM
BEST HINDI FILM
Othello
Producer: Artha Films
Director: Hemanta Kumar Das
Rajat Kamal and
Queen
Producer: Phantom
Films Pvt. Ltd. & Viacom
18 Motion Pictures
Director: Vikas Bahl
Rajat Kamal and
` 1,00,000/- each to the
For a delightful portrayal
of a young girl who
emerges
from
her
cocoon of difdence and
middleclass mores to
discover the pleasure
and fulllment of a life
lived on her own terms.
For its tangential evocation of the Shakespeare play as

it explores mistrust and prejudice in a society ridden with
political turmoil.
BEST BENGALI FILM

Nirbashito
Producer: Kaushik Ganguly Productions
Director: Churni Ganguly
Rajat Kamal and
For its poignant articulation of the suffocation one
experiences when exiled in a land that is not ones own, as
a price that is paid for asserting ones right to freedom of
expression.
BEST KANNADA FILM
Harivu
Producer: Om Studio
Director: Manjunath S. (Mansore)
Rajat Kamal and
1,00,000/- each to the Producer and Director
For the lingering pathos of a fathers struggle to provide
medical treatment to his only child and his long trek back
home with his sons corpse.
Cannes Film Market
83
05-05-2015 17:59:23

BEST MALAYALAM FILM
BEST KONKANI
FILM
Ain
Producer: 1: 1: Enternatments
Director: Sidhartha Siva
Nachom IA
Kumpasar
Producer: Goa Folklore
Productions
Rajat Kamal and

For its gently nuanced narrative in which a carefree young
man embraces responsibility and compassion for the lives
of others.
Director: Bardroy
Barretto
Rajat Kamal and
` 1,00,000/- each to the
For its nostalgic recovery
of a distinctive musical
legacy, as told through
the rollercoaster lives
of its practitioners, that
has remained unsung
despite its inuence upon
Bombay cinema.
BEST MARATHI FILM

Killa
Producer: JAR Pictures & M R Film Works
Director: Avinash Arun
Rajat Kamal and
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 TAMIL FILM
BEST ODIYA FILM
Kuttram Kadithal
Aadim Vichar
Producer: JSK Film Corporation

Director: Bramma.G
Producer: Mohapatra Movie Magic Pvt. Ltd.

Director: Sabyasachi Mohapatra
Rajat Kamal and

` 1,00,000/- each to the Producer and
Director
Rajat Kamal and

` 1,00,000/- each to the Producer and
Director
For the pervasive empathy with which

it examines the guilt and the anger that
follows upon a school teachers impulsive
slapping of a student.
For its vibrant portrayal of a tribal

community whose enabling humanism
shows a way out of pettiness and
prejudice.
84
05-05-2015 17:59:25

BEST TELUGU FILM
BEST PUNJABI
FILM
Chandamama Kathalu
Producer: Working Dream Production
Director: Praven Sattaru
Punjab 1984
Producer: White Hill
Production India Pvt. Ltd.
Director: Anurag Singh
Rajat Kamal and

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

` 1,00,000/- each to the
For its searing portrayal
of how ordinary lives
and simple dreams are
shattered in a time of
militancy.
BEST RABHA FILM

Orong
Producer: Suraj Kr. Duwarah, Aucto Creation
Director: Suraj Kr. Duwarah
Rajat Kamal and
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 Honour
Producer: V R Entertainers
Director: Rajeev Bhatia
Rajat Kamal and
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.
Cannes Film Market
85
05-05-2015 17:59:27

BEST NON FEATURE FILM
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 Division
Director: Torsha Banerjee
Swarna Kamal and
For its sensitive and lyrical portrayal of ten-year-old
Hassirbullah, who, though visually challenged, creates a
symphony of sounds. The lm captures his universe, his life
and his talent, softly and gently.
BEST DEBUT FILM OF A DIRECTOR

Goonga Pahalwan
Producer: Drishti Media
Director: 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 athletes route to the Rio Olympics.
BEST ANTHROPOLOGICAL /
ETHNOGRAPHIC FILM
Qissa e Parsi : The Parsi Story
Producer: Public Service Broadcasting Trust
Director: 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 Indias 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.
86
05-05-2015 17:59:30

BEST BIOGRAPHICAL/ HISTORICAL
RECONSTRUCTION
BEST FILM ON
SOCIAL ISSUES
Aamaar Katha : Story of Binodini

Director: Tuhinabha Majumdar
Cant Take This

Shit Anymore
Producer: Bhagirathi
Films
Rajat Kamal and

` 50,000/- each to the Producer and Director
For its stylistic and poetic portrayal of the 19th century theatre
actress Binodini Devis autobiography.
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.
BEST ARTS / CULTURAL FILM

Kapila
Director: Sanju Surendran
Rajat Kamal and
` 50,000/- each to the Producer & Director
For its unique and expressive rendering of Kapilas sheer
artistry over Kudiyattam, the worlds 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
Rajat Kamal and
For its extensive study of the craft and community of the
clay makers in the context of changing times.
Cannes Film Market
87
05-05-2015 17:59:32
BEST
ENVIRONMENT
FILM INCLUDING
AGRICULTURE
BEST EXPLORATION/ ADVENTURE FILM

(TO INCLUDE SPORTS)
Life Force Indias Western Ghats
Producer: Grey Films India Pvt. Ltd.
Director: Nallamuthu Subbiah
Rajat Kamal and
I Cannot Give
You My Forest
For taking the viewer deep into the Western Ghats and
engagingly revealing its rare and incredible biodiversity.
Producer: Top Quark

Films Pvt. Ltd.
Director: Nandan
Saxena & Kavita Bahl
BEST INVESTIGATIVE FILM
Rajat Kamal and

Producer & Director
Phum Shang
For its concerned and

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

Director: Haobam Paban Kumar
Rajat Kamal and
For its quiet and fair-hearted investigation of the shermen
communities and their oating dwellings on Loktak Lake,
Manipur, even as government agencies and conservationists
struggle to save the lake.
BEST EDUCATIONAL FILM

Komal
Behind the Glass Wall
Producer: Climb Media India Pvt. Ltd.
Producer: Gaahimedia
Director: Prashant Shikare
Director: Aruna Raje Patil
KOMAL For effectively and concisely

communicating essential information to
children to protect themselves from sexual
abuse.
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.
88
05-05-2015 17:59:34

BEST ANIMATION FILM
BEST SHORT
FICTION FILM
Sound of Joy
Producer: Aura Cinematics
Director: Sukankan Roy
Animator: Rishi Sanay
Mitraa
Producer: Athaansh
Communications
Director: Ravindra
Jadhav
Rajat Kamal and ` 50,000/- each to the Producer, Director

and Animator
For its owing and engaging animation style in telling the
stories from Vivekanandas childhood and its emphasis on
developing the power of concentration.
SPECIAL JURY AWARD
Rajat Kamal and

Producer & Director
For
its
empathetic
portrayal of its pivotal
characters
sexual
orientation, and the
question of freedom
around it. Shot in
monochrome, the lm
adds to the antiquity for
the era it is set in.
A Poet, A City & A Footballer

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 reections of its protagonist in the face of
impending death.
BEST FILM ON FAMILY VALUES

Towards the Silver Lining
Producer: 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.
Cannes Film Market
89
05-05-2015 17:59:37

BEST CINEMATOGRAPHY
BEST DIRECTION
Aamaar Katha: Story of Binodini

Indraneel Lahiri
Rajat Kamal and ` 50,000/- to Cameraman
Aaranyak
For its stunning and sensual visual imagery that brings the
story of Binodini alive.
Renu Savant
Swarna Kamal and
` 1,50,000/For
its
existential
denition of layered
thoughts and emotion
that move through a
reective search to end
in an ironic arrival into
the real.
BEST AUDIOGRAPHY
Tender is the Sight
Audiographers: Anindit Roy, Ateesh Chattopadhyay, &
Ayan Bhattacharya
Rajat Kamal and ` 50,000/-*
The 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
5 OClock Accidents
Director: Mrinal Dev
Director: Ruchir Arun
Certicate
Certicate
For poignantly telling the story of Gunjaa,

a young girl in Bihar, and her innocent but
ironic understanding of death.
For its gritty story and compelling treatment

of a voyeuristic teenager and the darkness
that comes with his obsession.
Seek and Hide

Director: Manoj Kumar Nitharwal
Certicate
For its ne juxtaposition of a childs
expression of fear with the unawareness of
the parents to elucidate a complex story of
paedophelia.
90
05-05-2015 17:59:39

BEST NARRATION /
VOICE OVER
BEST EDITING
Tigress Blood
Nitya Kalyani Oru

Mohiniyattam Patham
Andi Campbell Waite
Ambooty and Devi S
Rajat Kamal and

` 50,000/-
Rajat Kamal and

` 50,000/-
For seamlessly structuring the inner worlds

of four tigress sisters through an incisive
cinematic arrangement of their outer
spaces.
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.
BEST WRITING ON CINEMA

BEST BOOK ON
CINEMA
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
Raos work on silent cinema
commands attention. It is
as worthy of a scholars
consideration as a common
cinegoers 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.
SPECIAL MENTION
Pride of Tamil
Cinema (19312013)
G. Dhananjayan
Only Certicate
G. Dhananjayans 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.
Cannes Film Market
BEST FILM
CRITIC
Tanul Thakur
Swarna Kamal and
` 75000/- to the Critic:
Tanul Thakur
Tanul Thakurs work is like
a breath of fresh air. In
brevity lies the strength
of Thakurs 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.
91
05-05-2015 17:59:41
05-05-2015 17:59:44
DADASAHEB
PHALKE AWARD
WINNERS
Cannes Film Market
93
05-05-2015 17:59:45
Dadasaheb Phalke Award
Dadasaheb Phalke
Award
The Award was introduced in 1969 by the government
to recognise the contribution of lm personalities
towards the development of Indian Cinema
Devika Rani Roerich

1969
B.N. Sircar
1970
Prithviraj Kapoor
1971
Pankaj Mullick
1972
Sulochana (Ruby Myers)

1973
B.N. Reddy
1974
94
05-05-2015 17:59:45
Dhiren Ganguly
1975
Kanan Devi
1976
Nitin Bose
1977
R.C. Boral
1978
Sohrab Modi
1979
P. Jairaj
1980
Naushad Ali
1981
L.V. Prasad
1982
Durga Khote
1983
Cannes Film Market
95
05-05-2015 17:59:47
Satyajit Ray
1984
V. Shantaram
1985
B.Nagi Reddy
1986
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 rst Indian Feature lm Raja
Harishchandra in 1913
Raj Kapoor
1987
96
Ashok Kumar
1988
Lata Mangeshkar
1989
05-05-2015 17:59:50
A. Nargeswara Rao
1990
B.G. Pendharkar
1991
Dr. Bhupen Hazarika

1992
Majrooh Sultanpuri
1993
Dilip Kumar
1994
Dr. Rajkumar
1995
Shivaji Ganesan
1996
Kavi Pradeep
1997
B.R. Chopra
1998
Cannes Film Market
97
05-05-2015 17:59:52
Hrishikesh Mukherjee
1999
Asha Bhosle
2000
Yash Chopra
2001
Dev Anand
2002
Mrinal Sen
2003
Adoor Gopalakrishnan
2004
Shyam Benegal
2005
Tapan Sinha
2006
Manna Dey
2007
98
05-05-2015 17:59:55
V.K. Murthy
2008
D. Ramanaidu
2009
K. Balachander
2010
Soumitra Chatterjee
2011
Pran
2012
Gulzar
2013
Shashi Kapoor
2014
Dadasaheb Phalke Award is

given to a 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.
Cannes Film Market
99
05-05-2015 17:59:56
05-05-2015 18:00:00
PEOPLE
Cannes Film Market
101
05-05-2015 18:00:48
Indian Delegates at Cannes

MINISTRY OF INFORMATION & BROADCASTING
COL RAJYAVARDHAN RATHORE Minister of State for
Information & Broadcasting
K SANJAY MURTHY JS (Films) jslms.inb@nic.in
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 lms and lm services in India.
The India Pavilion at Cannes will provide a platform for the Indian lmmakers and producers (mainstream and
independent) to market Indian lms with international territories and engage in co-production with Europe.
The objective is to boost the prole of Indian 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.
DIRECTORATE OF FILM FESTIVALS

C SENTHIL RAJAN Director, DFF
csrajan@yahoo.com
RIZWAN AHAMD Deputy Director DFF/IFFI
rikkykhan@yahoo.com
TANU RAI Deputy Director DFF/IFFI
dff.tanurai@gmail.com
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 Indias participation in Festivals abroad,
arranges programmes of foreign lms in India and Indian 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.
INTERNATIONAL FILM FESTIVAL OF INDIA

International Film Festival of India aims at providing a common platform for the cinemas of the world to
project the excellence of the lm art; contributing to the understanding and appreciation of 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 IFFIs founding principles centre on discovery, promotion and support of 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 worlds greatest lm artistes hold hands with emerging talents on an equal footing. It
is also a forum for lm professionals to communicate face to face with lm lovers around the world.
102
05-05-2015 18:00:51

FEDERATION OF INDIAN CHAMBERS OF COMMERCE
AND INDUSTRY (FICCI)
LEENA JAISANI Senior Director & Head -Entertainment Division
leena.jaisani@cci.com
SAMIR KUMAR Deputy Director samir.kumar@cci.com
VIKAS SARVANG Deputy Director
DHARMENDER SINGH Executive
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, lming in India, script development and technology, and Promoting lm sales and syndication.
Established in 1927, FICCI is the largest and oldest apex business organization in India. A not-for-prot
organization, FICCI is the voice of Indias business and industry, encouraging debate, articulating the private
sectors views and inuencing policy.
One of FICCIs most important objectives is to facilitate communication and exchange between key industry
gures, inuencers and policy makers. To this end, the FICCI Media and Entertainment Division organizes
FICCI FRAMES, Asias largest and most denitive annual global convention on the business of entertainment.
The 16th edition of FICCI FRAMES, FICCIs agship event and Asias largest and most denitive annual
global convention on the business of entertainment, will be held in Mumbai. Can be reached at the India
Pavilion, 111 Village International Riviera.
MEET US AT INDIA PAVILLION,

111 VILLAGE INTERNATIONAL,
CANNES
Cannes Film Market
103
05-05-2015 18:00:55

AGHOR RAJ PRODUCTIONS PVT LTD
BHAVNA ISRANI Head of Business Development
info@aghorraj.com
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.
ALLIANCE MEDIA & ENTERTAINMENT PVT. LTD

SUNIL DOSHI CEO sunil.doshi@alliancemedia.in
Alliance Media & Entertainment Pvt Ltd is a company with interest in acquisition, distribution, talent
management, advertising and 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 Ofce, 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 lms which are different, unique and out of the box in their approach, form and content.
ANURAG PICTURES
MATHEW GEORGE Managing Partner
vineethmaliakal@gmail.com
Anurag Pictures was formed in 1990. We are exporters and importers of feature lms for distribution in
theaters. There are two partners Mr. Mathew George and his son Mr. George Mathew.
104
05-05-2015 18:00:59

ARKA MEDIAWORKS (P) LIMITED
NAGA SOBHANADRI YARLAGADDA CEO
shobuy@arkamediaworks.com
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 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 lms to be
produced by a media house in India. Our objective is to get the widest possible international release for this
lm.
BLOCKBUSTERS MOVIESSS PRIVATE LIMITED

GURMEET SINGH Managing Director
producer.blockbustermoviesss@gmail.com
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.
BOMBAY BERLIN FILM PRODUCTION LLP

KATHARINA SUCKALE COO / Producer
ks@bombayberlin.com
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 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 lms for cinema and television for the
international market. We have been EP on the 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 postproduction of our latest German-Indian-US co-production LOEV.
Cannes Film Market
105
05-05-2015 18:01:02

CONFEDERATION OF INDIAN INDUSTRY
AMITA SARKAR Deputy Director General amita.sarkar@cii.in
ANAMIKA KALIA Deputy Director anamika.kalia@cii.in
KAVITA SAINI Executive Ofcer kavita.saini@cii.in
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 divisions annual 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.
CUT TO CUT
SHOMSHUKLLA DAS Director shomshuklla@gmail.com
UDITVANU DAS Actor
Cut to Cut is an independent feature lm production company based out of Mumbai, India. Cut to Cut has
produced the award winning features 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 lm, Hopscotch.
Objective : To showcase an award winning woman director and team driven thoughtful independent cinema
to a global audience
D2R FILMS
RAVI MUPPA Head of Development yahravi@gmail.com
The production company is behind hit Bollywood 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 lms, TV content and New media has resulted in the formation of D2R Films.
106
05-05-2015 18:01:05

DISNEY INDIA
NEHA KAUL Head - Intl Distribution, Syndication
neha.kaul@disney.com
MAMTA KAMTIKAR Senior Manager - Intl
Distribution, Syndication mamta.kamtikar@disney.com
SNEHA SINGH Senior Associate - Intl Distribution, Syndication
sneha.singh@disney.com
Bringing together the best of both worlds, the Walt Disney Company and UTV have formed Disney India
Studios - one of the leading lm studios in the country. The activities of Disney India Studios span across
creative development, production, marketing, distribution, licensing, merchandising and syndication of 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 studios award-winning library of
iconic Indian lms.
DOCS & SHORTS

RAMESH TEKWANI President ramesh.tekwani@gmail.com
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 India
Contact Ramesh Tekwani, President, Academy of Research and Production for Docs & Shorts,
Independent Cinema and Alternate Content. Quite simply put Docs & Shorts. (www.docsandshorts.org).
DQ ENTERTAINMENT INTERNATIONAL LIMITED

LAURENT AMAR Directeur des relations
publiques internationales laurent@dqentertainment.com
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 childrens 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.
Cannes Film Market
107
05-05-2015 18:01:08

DRISHYAM FILMS
MANISH MUNDRA Founder and Promoter
manish@drishyamlms.com
SVETLANA NAUDIYAL International Sales and Promotion
svetlana.07@gmail.com
SHRADDHA CHAUHAN Distribution and Marketing
shraddha@drishyamlms.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 avours. Masaan (Cannes 2015), Dhanak (Berlinale 2015)
and Umrika (Sundance 2015), are some of our recent productions. Our upcoming lms include feature drama
Waiting by Anu Menon and experimental collaborative feature X-the lm by eleven Indian directors.
ELEEANORA IMAGES
NILA MADHAB PANDA Director nmp2020@gmail.com
Eleeanora Images has produced over 70 documentaries, TVCs, Short lms and drama, two mega TV serials
and four feature 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 Pandas vision has shown the outcome through the organisation.
The last two major 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 lm festivals. The second lm Jalpari the desert
Mermaid well received critically acclaimed as well as well received by the audience.
ERANGO MEDIA
AVI VASU Director nmp2020@gmail.com
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 Indias unique contribution to the world of art.
Exceptional ideas, Captivating stories, Filmic creativity, Leading edge expertise all come together under one
banner Erango
108
05-05-2015 18:01:11

EROS ENTERTAINMENT
KUMAR AHUJA President - Business Development
kumar.ahuja@erosintl.com
PRANAB KAPADIA President Marketing & Distribution
pranab.kapadia@erosintl.com
ALICE COELHO President - Business Development
alice.coelho@erosintl.com
Eros International Media Ltd is a leading global company in the Indian lm entertainment industry that acquires,
co-produces and distributes Indian lms across all available formats such as cinema, television and digital new
media. Eros International is part of Eros International Plc, which became the 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 lms, which include Hindi, Tamil, and other
regional language lms for home entertainment distribution. Eros International has built a dynamic business
model by combining the release of new lms every year with the exploitation of its lm library.
ESSEL VISION PRODUCTION LTD

GIRISH JOHAR Film Division Revenue Head
girish.johar@esselvision.com
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 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 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 ag high
FAIR FILMS
MUTHUVELU KUMAR Chief Operating Ofcer
kumar@fairlms.in
FAIR FILMS is a istributor of Engish and non English lms to India and SAARC countries. Our main activities
are lm distribution, animation series, childrens programmes, reality shows. We are looking for different kinds
of feature lms, TV series, reality shows for India and SAARC. We are looking for different kinds of feature
lms.
Cannes Film Market
109
05-05-2015 18:01:13

FAIZEE PRODUCTION
KEITH GOMES Director - Producer
gomes.keith@gmail.com
Faizee Production was founded in 2006, and our rst feature production Shagird directed by National award
winning director Tigmanshu Dhulia. The lm released in 2010. Currently in production is a regional feature
Masti and Mystery which is slated for a 2015 release.
FILM FEDERATION OF INDIA

TRIPAT PAUL AGGARWAL Vice President
tp@starentertainment.in
RAVI KOTTARAKARA Vice President
kotlm@gmail.com
K S RAMA RAO Vice President FFI
SUPRAN SEN Secretary General
supransen.lmfed@hotmail.com
The Film Federation of India (FFI) is an apex body of the Indian 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 lms and of all other persons connected
with the lm industry. The FFI selects the Indian ofcial entry for the Academy Award for Best Foreign
Language Film each year.
FILM & TELEVISION PRODUCERS GUILD OF INDIA LTD

KULMEET MAKKAR Chief Executive Ofcer
kulmeet@lmtvguildindia.org
GUILD - Enhancing the value of Cinematic Arts- The Film & Television Producers Guild of India Limited is an
autonomous non-prot premier 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 benet
of members. Established in 1954 by the stalwarts of the Indian 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 inuential trade bodies like FICCI and CII. Also, the Guild has instituted the
Apsara Film & Television Producers Guild Awards for excellence in lm and television.
110
05-05-2015 18:01:16

FILM VILLAGE SALES
ABHIJEET SINGH BAGHEL Executive Director Buyer
asb@lmvillage.in
Film Village is a new-age Sales and Licensing Co. that represents select Indian titles for world sales and allrights of Foreign language lms for Indian subcontinent. FilmVillage has its own distribution arm for select
Bollywood titles in Europe. YRFs Mardaani starring Rani Mukherji is our latest release in Poland. FilmVillage
specializes in licensing of Intellectual property rights and also packages feature-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.
FOX STAR STUDIOS INDIA PVT LTD.

ROHIT SHARMA Head of International Sales & Distribution
rohits@in.foxstarstudios.com
KANIKA VASUDEVA VP - International Sales & Distribution Buyer
kanika.vasudeva@in.foxstarstudios.com
Fox Star Studios India is a joint venture between 20th Century Fox and STAR, Asias leading media
conglomerate, to produce world-class local- language lms for worldwide distribution.Fox Star Studios rst
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 lms that have been appreciated all around the world.
We have an exciting line-up of 12 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
lm - The Crows Egg.
FUTURE EAST FILM

PINAKI CHATTERJEE Producer pinaki@futureeast.com
FUTURE EAST FILM was established to develop new forms of independent lm in India. The companys rst
feature length project, JOHN & JANE by Ashim Ahluwalia, premiered at Toronto Film Festival. It was the
rst Indian project to be acquired by HBO Films for US theatrical release. Future Easts next feature-length
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, nance, strategy, sales agents and TV
broadcast and territorial presales/ancillary sales for new lm by Ashim Ahluwalia, THE BOYFRIEND which
is also ofcially invited at the Producers Network in Cannes 2015 after having made successful rounds at
Cinemart Rotterdam and Goa Film Bazaar 2014.
Cannes Film Market
111
05-05-2015 18:01:19

GANESH PICTURES
RAVI KOTTARAKARA Producer, Director, Distributor
kotlm@gmail.com
Ganesh Pictures and Kottarakara Films, headed by Ravi Kottarakkara, are oldest and reputed production
houses. Inspired by his fathers lm pasamalar,Ravi joined his production company at very early age during
1978. Acted in several lms, his never ending frenzy and passion to the lm industry persuaded him to learn
editing, cinematography, direction. He started to assist his father in all his lm production activities. Fully
involved in lm production from 1982, 71 straight lms were produced in the above banners in Malayalam,
Kannada, and Tamil languages. Ravi has written & directed lms in Kannada. Produced lms that entered the
national & international lm festivals and won awards. Some of the lms ee shabdam enathe shbadam,
adyathe kanmani, dosth. He has also distributed 76 foreign 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 Certication, - 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
GURU FILMS PVT LTD

SUNITHA TATI CEO - Producer
sunitha@gurugroup.co
ANANTHAKUMAR RENGASAMY Producer
MATHANGI SRINIVASAMUTI Producer
Guru Films Private Limited (GFPL) is a premier lm production company based out of Hyderabad, India.
Created specically to exploit the rapidly growing lm industry of South India, GFPL plans to quickly capture
and dominate the South Indian regional 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 nished shooting the 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 rst quarter of 2015.
Our next two lm projects are in pre-production and will release third quarter of 2015.
IRIS GREEN FILMS

BEENA UNNIKRISHNAN CEO
beena@irisgreenlms.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 lms which 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 lm market ,the one that has emerged as a legitimate competitor to the traditional
Hollywood studio system ; to raise the prole of the company , to explore on funders and funding systems
,meet the expertise world cinema.
112
05-05-2015 18:01:22

JUNGLE BOOK ENTERTAINMENT
MRINAL CHAWLA Production Assistant
mrinalch@usc.edu
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 air for telling
timeless tales with origins in South East Asia and more specically 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 specically positioned to captivate TV and Film audiences on an
International scale.
KAHINI MEDIA
ROOPA BARUA Producer
roopa.kahini@gmail.com
Kahini Media is a production company based out of Mumbai, India. We undertake all production activity , be it
short lms, music videos or full length feature lms. Kahini Media has produced award winning music videos
and documentaries
Kahini Media is presently involved in producing a couple of full lenght feature 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 efcient at controlling the cost of production.
KALEIDOSCOPE ENTERTAINMENT
BOBBY BEDI Producer
bobby@kepl.in
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 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 its Managing Director. KEPL has worked with some
of the 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.
Cannes Film Market
113
05-05-2015 18:01:26

KK PRODUCTIONS
KAJAL CHOUDHURY Producer Director
kajalchoudhury@yahoo.com
Our list includes Long Journey to Calcutta (feature lm 90 minutes), Burning Calcutta (feature lm 90
minutes), Do or Die feature lm in pr-production and Matriarchale Society in India, a 52-minute documentary.
We are in Cannes for new projects and co-production investment.
KRISH MOVIES
RAJESH JAIN Producer
rajeshjain@krishmovies.net
PREETI JAIN Producer
Coming from the background of handicraft Mr. Jain brings the same craftsmanship in his slate of lms also,
His rst lm was critically acclaimed and National award winning IAM. His another venture as TV serial
ANUDAMINI at National channel is 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 lm and story but reaches
out to world audience too.
We have recently nished the feature lm Blue Mountains
LALL ENTERTAINMENT
BHUVAN LALL Chairman - Founder
lallentertainment@gmail.com
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 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 lms Mahabharata and the life of
Buddha.
114
05-05-2015 18:01:28

LETS RING THE BELL PRODUCTIONS
GURJOT SINGH Producer
ohnnybaweja@gmail.com
REETH MAZUMDER Producer
Lets 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 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 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
lm on Sikh Warrior.
LONG LIVE CINEMA

SHILADITYA BORA Managing Director
shiladityabora@gmail.com
Long Live Cinema is a labour of love for all things cinematic an integrated 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 DTH
We have only one goal: to help quality cinema reach its audience, and then to maximise it.
MADE IN MADRAS INKOPERATED!

SUDHISH KAMATH Writer, Director, Producer
sudhish.kamath@gmail.com
Sudhish Kamath founded MADE IN MADRAS ink, the lm production company that produced That Four
Letter Word, Good Night Good Morning and X.
He conceived, Directed and Wrote a collaborative experimental feature lm called X with ten Indian
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.
Cannes Film Market
115
05-05-2015 18:01:32

MADHU ENTERTAINMENT & MEDIA LTD.
HIRACHAND DAND Chief Operating Ofcer
madhuentertainment@gmail.com
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
Indias most diverse lm catalogue. In the last few years, the company has further expanded to production
of regional lms & television content.
MAGICAL DREAMS PRODUCTION PVT LTD

HARRY SACHDEVA Managing Director
magicaldreams2020@gmail.com
Magical Dreams is involved in production of mainstream cinema and tele serials, its 2015 project titled
31st October , a lm on Indira Gandhis assassination and its aftermath is the rst Indian 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,rst lm on Indira
Gandhis assassination and the aftermath.
MANTRA RUNAWAY ENTERTAINMENT

SAILESH DAVE CEO
saileshdave@mantra-runaway.com
Mantra Runaway Entertainment is a production company specializing in Independent lms nancing,

distribution and funding. Our last movie Writers was shown at more than ten lm festivals across the world
including Zurich International Film Festival. We are currently planning to produce three more lms in the next
twelve months. We have an ofce in Los Angeles and we continue to strive for new outlets for Independent
lms and alternative distribution networks.
At Mantra/Runaway Entertainment, we encourage new 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 nancing for selected projects.
116
05-05-2015 18:01:34

MERCURY INTEGRATED
HARSHAD BHAGWAT Director
iiftc@mercuryintegrated.com
Mercury Integrated is a boutique events and entertainment services company based in Mumbai, India.
Mercury Integrated is the promoter of India IIFTC Locations Show - Indias largest lm locations show and
CinePort - Indias rst lm tourism focused magazine.
IIFTC Locations Show is the rst stop for lm commissions and tourism boards to meet the vast and vibrant
Indian lm industry. IIFTC Locations show is promoted in association with the Film Federation of India
(Indias apex lm trade body). IIFTC Locations show takes place across Indias 3 largest 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.
METRO PICTURES
RANCHOR JUMANI Buyer
ranchor@metropictures.in
AMIT JUMANI Director
amit@metropictures.in
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)
MOTION MAKERS ANIMATION STUDIO

VIPUL VALVI Producer
vipulvalvi@motionmakersstudio.com
RITURAJ SETHIA Producer
Motion Makers is an Animation and Visual effects company situated in Mumbai, India.
We produce feature lm, television, commercial and visual effects.
Motion Makers also provides a full-service solution for feature animation, visual effects, and lm property
development from the basic concept to the nal 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 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 eld of Animation and
VFX
Cannes Film Market
117
05-05-2015 18:01:37

MULTIVISION MULTIMEDIA INDIA PVT LTD
UDHANI SUNIL Head of Distribution
sunil.udhani@mvpworld.com
Multivision Multimedia India P Ltd is a major independent distributor of Hollywood 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 lms all over the Country.
Looking for long term relationships with established Production Houses/Sales Agents.
NANOLAND LTD
RAJSINGH ZANANE Film Director
rajsinh_zanane@yahoo.com
RAJESH ACHARYA Producer
omkaracharya@outlook.com
We are a knowledge pool of rising talents with experienced professionals, working in diversied areas of
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. Nanolands
main objective is to make 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 Rajsinghs vision. Nanoland
is producing a lm on climate change written by Dr. Acharya and directed by Zanane Rajsingh called Its
Tomorrow. The lms objective is to break the myth of Global Warming
NANU PRODUCTIONS
SHRIPRIYA DALMIA THIRANI Director
shripriya.thirani@nanuproductions.in
Nanu Productions was founded in 2012 by Shripriya Dalmia Thirani. We are a successful lm production house,
which is already two lms old, one being a docu-drama, and other, a soon to be released Bollywood lm that
deals with burning issues of Honor Killing. We currently have ve main stream 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 lm business
for cost effective, creative and quality lm making
118
05-05-2015 18:01:39

NATIONAL FILM DEVELOPMENT CORPORATION NFDC
NINA LATH GUPTA Managing Director
nina@nfdcindia.com
RAJA CHHINAL Head Overseas Promotions & Markets
exports@nfdcindia.com
FATEMA NAGREE Business Development Manager
fatema@nfdcindia.com
MANAS MALHOTRA Co-Director, Film Bazaar
manas@nfdcindia.com
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 lms and
extended nancial support to more than 300 lms in 21 regional languages.
NFDC organises Film Bazaar (FB), South Asias global Film Market, from 20 - 24 November every year in
he Goa, along with the International Film Festival of India (IFFI). Film Ofces, a new segment, introduced
in FB 2014, is a platform for Film Commissions &Tourism Bodies to showcase locations and incentives to
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 lms and for our catalogue of more than 300 lms.
NOVEL EVENT WORKS

SUDHANSHU HUKKU Chairman - Managing Director
sudhanshu@locationsworld.com
Locations Annual Exhibition Conference in Mumbai, India. Line and Locations Co Ordination for Indian Films
Globally. Co production Sourcing.
ONE WORLD FILMS PVT. LTD.

GIRISH MALIK Producer and Director
girish@oneworldlms.in
One World Films Pvt. Ltd. is a rapidly growing production house; with the goal to produce lms which carry
a universal connect. We intend to bring unheard stories from Indian subcontinent to the attention of lm
acionados spread over the globe. OWF also intends to make inroads into international lm sales and
distribution through thought provoking, artistic cinema with a widespread appeal. our rst lm JAL (Water)
was selected in Oscar contention for Best Original score and Best Picture. We are looking for nancing and
co-production partners with shared goals for our international projects.
Cannes Film Market
119
05-05-2015 18:01:42

OVERDOSE ART PVT LTD
CELINE LOOP Producer
celine@overdosejoint.in
Overdose is a ercely independent lm production house based in Kolkata. They create locally rooted but
globally relevant feature 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 prole by working at the highest international quality standards with limited nancial resources.
They have an eclectic network of artists, technicians, distributors, commissions, broadcasters, and a loyal
fan base across the globe. Objective: Networking and nding partners for our next projects in development,
production and post production.
PANORAMA STUDIOS
ABHISHEK PATHAK Managing Director
abhishek@panoramastudios.in
ABHISHEK GORADIA Senior Manager Acquisition and
Syndication Buyer
Panorama Studios, together with its subsidiaries and associates, is a diversied Indian 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.
PICKLE
NATARAJAN VIDYASAGAR Editor and Publisher
nvidyasagar@gmail.com
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. Pickles goal is to help you buy, sell and distribute content from overseas
territories, 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).
120
05-05-2015 18:01:45

PICTUREWORKS
AVINAASH JUMANI Film Acquisitions Buyer
avinaash@pictureworksindia.com
PictureWorks is acquiring Hollywood and Foreign language feature lms and documentaries for India and the
Indian sub-continent territories.
PLA ENTERTAINMENT
SHONA URVASHI Creative Producer
shona@plaentertainment.com
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 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 lm projects for an international market and are looking for co producers
for these projects.
POPCORN FLICKS
AMIT KUMAR AGARWAL COO
popcorn@hotmail.com
Popcorn Flicks & its subsidiary, Indie n Dogma icks are Film Production and Film Facilitation organizations
based out of India. Main Objective in 15 is to move our mainstream feature-lm, Virgin.. Mira (already shot
as a scratch 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
lms, across genre, that t in the Festival schedule.
Popcorn is at Cannes Film Festival 2015 to 1. Move our mainstream feature-lm, Virgin.. Mira (already shot
as a scratch lm) from development & pre-production to production stage. 2. Program & schedule 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 lms for the Indian Market 5. Possible
collaborations with talent 6. Network for future business
Cannes Film Market
121
05-05-2015 18:01:53

PUSH INTEGRATED COMMUNICATIONS PVT LTD
VA SHRIKUAMR Managing Director
vashrikumar@gmail.com
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 youve never known you
needed to meet.
PVR PICTURES
SANJEEV KUMAR Joint Managing Director Buyer
sanjeev@pvrcinemas.com
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 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 lms and other language lms for India, Nepal, Bhutan,
Bangladesh, Srilanka, Maldives, Pakistan.
R.D. FILMS
G.M RAM Owner
rd_lms@yahoo.co.in
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...
122
05-05-2015 18:01:55

RUPESH PAUL PRODUCTIONS LTD (RPPL)
RUPESH PAUL Producer - Director
rupesh@rpplmovies.com
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 directors 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)
SAHAJ FILM PRIVATE LIMITED

NEERAJA PATWARDHAN Producer
sahajlm@gmail.com
Sahaj Film Private Limited is founded in 2009 by Dir. Sandeep Sawant (Shwaas) and Neeraja Patwardhan.
Our company is producing Sawants next directorial venture, a Marathi feature lm titled Nadi Vahate Post
production of the lm is underway. The 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 lm focuses on
river with respect to environmental and social aspects. The lm will be complete by end of May 2015. We are
looking for sales agent/ Acquisition/ Buyer Distribution for the same.
SALAAM CINEMA
SANJAY SHAH Producer
sanjai.shah@gmail.com
SALAAM CINEMA is a Mumbai based lm production company established to develop and produce auteur
driven lms for global audiences. The company was founded in 2013 by producer Sanjay Shah, who previously
produced Ashim Ahluwalias 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 companys new feature LIBERATION (currently in
development).
Cannes Film Market
123
05-05-2015 18:01:58

SIKHYA ENTERTAINMENT
GUNET MONGA CEO and Founder guneet@sikhya.in
Sikhya Entertainment is Indias 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 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.
SOUTH INDIAN FILM CHAMBER OF COMMERCE

B SHASHI KUMAR President
sifcc1939@gmail.com
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 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.
STAR ENTERTAINMENT P LTD

JITEN HEMDEV Managing Director Buyer
jiten@entertainmentstar.com
Star Entertainment is Indias 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 Indias 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 lms for theatrical release simultaneous with
USA release! To acquire Classics and Popular Hit lms from the past for TV /Video/Broadband/Mobile To
acquire Animation, Educational, Music, Children and Special interest programs, TV comedies, TV serials
124
05-05-2015 18:02:01

STAR ENTERTAINMENT WORLDWIDE PVT LTD
TRIPAT PAUL AGGARWAL Chairman - Managing Director
tp@starentertainment.in
Star Entertainment Worldwide Pvt. Ltd. was started in the year 1995. Though the M.D. Mr. T.P. Aggarwal had
already been producing 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 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.
SUNSTONE ENTERTAINMENT
SANJAY JUMANI Buyer - Seller Buyer
sunstone@vsnl.net
Indias 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 lms with subtitles and dubbing in several world languages
in all formats Theatrical, DVD, Cable TV, In 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.
SUPERFINE FILMS
KAMAL JAIN CEO - Managing Director Buyer
supernelms@hotmail.com
Under the dynamic aegis of Kamal Jain - Superne lms, Superne Films Pvt Ltd along with its sister concern
Superne 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. Superne group of companies
are well recognized with immense repute by almost all major International Films/TV sales/Representative
Companies, thereby giving Superne a name of trust, repute & reliability
Present Primary objective and focus is to acquire All Rights for Commercial Driven, Action, Adventure, Special
Effects, Fantasy Big Budget Genre lms and programs with A credits or franchise lms for India and SubContinent which can be exploited in All the Platforms in India & Sub Continent.
Cannes Film Market
125
05-05-2015 18:02:03

TAPAS FILMS
SWAROOP KANCHI Director / Producer
tapaslms@gmail.com
Tapas Films was founded in 2007 by Swaroop Kanchi and their rst production was Hong Kong based
independent english lm Hong Kong Dreaming. With their head ofce in bangalore they line produced a
british lm Supraman and the school of necessity in 2008, in 2010 Bengaloored an Indian indie english lm
was produced and released nationwide theatrically to both critical acclaim and box ofce collections, in 2014
they released their rst hindi lm Yeh dil Ramta jogi theatrically. Tapa
My current Priority is to nd Co-Producers for my New 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
TRIKUTA FILMS PVT. LTD.

JITENDRA ADAPPA Producer trikutalms@yahoo.com
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 clients
requirements. TFPLs strength is the combined experience of its Directors & its professionalism in executing
projects it undertakes. TFPL is taking strides in feature lm productions, condent 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. TFPLs focus is on doing International Feature Films by way of CoProductions and is open to exploring new business opportunities in the eld. "Kadhie Aambat Kadhie Goad", an
Indian family drama, made in its local language is TFPL'S rst feature lm offering. Its in the nal stages of
post production & is being readied for a July 2015 release.
ULTRA MEDIA & ENTERTAINMENT PRIVATE LIMITED

MODA VINEET Global Business Development
vineet@ultraindia.com
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 lm and television production and distribution and digital media.
Over the years, Ultra has diversied into a wide spectrum of services such as 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.
126
05-05-2015 18:02:06

VIACOM18 MOTION PICTURES
GAYATRI GULATI Head Revenues & International Business
gayatri.gulati@viacom18.com
Viacom18 Motion Pictures is Indias nest fully integrated motion pictures studio that has emerged as a force
to reckon with by delivering a stream of critically and commercially successful lms. Offering differentiated
and meaningful cinema, some of its iconic releases have been Queen (2014), Bhaag Milkha Bhaag (2013),
Madras Caf (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 subcontinent 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.
VR FILMS & STUDIOS PVT LTD

MANISH DUTT Managing Director Buyer
manish.dutt@vrlms.in
Importer of foreign language lms for India territory, exporter of Hindi 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 lms mainly English language lms for ALL RIGHTS for INDIA and sub
continent.
YASH RAJ FILMS

AVTAR PANESAR Vice President - Intl. Operations
avtar@yashrajlms.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 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 lms along with Dhoom: 3 the biggest action franchise from India .
Cannes Film Market
127
05-05-2015 18:02:09

CHENNAI INTERNATIONAL SHORT FILM FESTIVAL
SRINIVASA SANTHANAM Festival Director, CISFF
directorcisff@gmail.com
S KANNAN Chairman, CISF
The Chennai International Short Film Festival is organised by Chennai Academy of Motion Picture, a nonprot trust founded by persons with a long track record in promoting good cinema through lm festivals and
other media. The second edition will be held from 15-21 Feb 2016 with competition for short ction, animation
and documentaries for a maximum duration of 20 minutes. CISFFs objective at Cannes is to scout for short
lms for the festival. Last date for receipt of entries: December 15, 2015.
WESTEAST FILM
PIERRE ASSOULINE Producer
info@westeastlms.com
Production, Production Consultancy and Services in India

Our expertise: To translate lm production practices in India into your expectations as a Western producer
or 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.
YOGANANDA FILMS
PAVAN KAUL Director/Producer
pavankaul@gmail.com
Creation of quality, path breaking and inspirational content for lm and television.
We are at Cannes Film Market to promote and market our feature lm THE ANSWER.
128
05-05-2015 18:02:12
MORE INDIAN COMPANIES AT CANNES

AARUSHI INVESTMENTS
Vimal AGARWAL
Director
aarushi1@yahoo.com
AEON PICTURES INDIA
Surendra SINGH
Director / Business
aeonpix@gmail.com
B4U
Ishan SAXENA
Vp Acquisitions
ishan@swordshinvestments.com
Chennai International Film

Festival
S. Thangaraj
Festival Director
thangaraj_icaf@hotmail.com
CONSULAT GNRAL DE
FRANCE (INDE)
Reghu DEVARAJ
Attach Audiovisuel
reghu.devaraj@diplomatie.gouv.Fr
EMPIRE NETWORKS
Kavi JUMANI
Managing Partner
empiremediaindia@gmail.com
GBN SPACES
Gopakumar Balakrishnan NAIR

Production
info@gbnspaces.com
KALINGA TV
Dwiti VIKRAMADITYA
Director
dwiti.vikramaditya@gmail.com
WHITE STRIPES
(ENTERTAINMENT DIVISION
OF DIL LTD.)
Yash SHAH
Group Director
yashshah@ytgroup.co.in
YT GROUP
Yash SHAH
Group Director
yashshah@ytgroup.co.in
Cannes Film Market
129
05-05-2015 18:02:14

Mumbai Academy of the
Moving Image (MAMI)
Anupama Chopra
Festival Director
info@mumbailmfest.com
RECTANGLE MEDIA PVT. LTD.
Remy KOHLI
Producer Director
mr.rskohli@gmail.com
SMILE FILMS
Jitendra Kumar MISHRA

Producer-Festival Director
smilelms.india@gmail.com
SPLIT IMAGE PICTURES PVT

LTD
Vikram LAMBA
Director
vikramlamba@gmail.com
STILL WATERS MEDIA PVT

LTD
Sapna BHATIA
Director
sapna.bhatia@tvnewsinternational.com
SUCHETA PHULE
PRODUCTION
Phule SUCHETA
Writer / Director
Suchetaphule.h@gmail.com
SWAPNA CINEMA
Chalasani SESHU
Producer
dutt.priyanka@gmail.com
VENDHAR MOVIES
Pravin GANDHI, Director

pravingandhi2014@gmail.com
130
05-05-2015 18:02:16
FILMS
Indian Films for Sales and Syndication

at Cannes Film Market 2015
Cannes Film Market
131
05-05-2015 18:02:20
Indian Films for Sales & Syndication
INDIAN PANORAMA
FILMS 2014
OTHELLO
Seventy-two-year-old ex-revolutionary Bankim Bhatta is suffering
from Alzheimers. 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
Muns auto to visit clients. A bond develops between them. A bomb
blast at the auto-stand provides the shocking climax of the lm.
Director: Hemanta Kumar Das | Producer: Manabendra Adhikary
Cast: Arun, Arup Baishya, Bibhuti Bhushan Hazarika, Jupitora
Bhuyan
2014 | Assamese | Digital | Colour | 126 min
PUNASHCHA
Mohona has retired as a professor in Santiniketan. Her only daughter,
Parna, studies in Santiniketans Vishwa Bharati and lives in a hostel.
Mohonas 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 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
2013 | Bengali | Digital | Colour | 132 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
132
05-05-2015 18:02:28

BODHON
The 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 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 ghts
it with all their might over six days. But there is a deeper crisis in
Ishaanis 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 lm based on a novel. Does love still
exist? Each generation feels the succeeding generation doesnt
understand love and the feeling is mutual. Thus the search for the
elusive four-letter sensation goes on. This 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 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
ghters certicate would facilitate an entry. Das has his rst brush
with bureaucracy when he is told that he cannot obtain a certicate
from Maharashtra, as he had fought from the state of Orissa. The utter
callousness of the ofcials is an eye opener and a new Das is born.
Director: Ananth Narayan Mahadevan |
Producer: Siddhivinayak Cinevision
Cannes Film Market
133
05-05-2015 18:02:36

ANKHON DEKHI
The narrative follows fty-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 peoples 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 ministers ofcial 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 outt. 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
134
05-05-2015 18:02:45

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 inuential police
ofcer. He happens to witness a 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 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 lm probes
into the conicts 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 peoples lives. Their meeting forces
him to come out 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,
Cannes Film Market
135
05-05-2015 18:02:55

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 Unnis life. A brother and a father 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. Ravis 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 Budhis 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 (Innitum
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 lm are basic human emotions of mother and child and a childs
struggle to help his struggling single mother 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 lm explores
childrens scientic curiosity vis--vis the spiritual teachings of the land.
Director: Paresh Mokashi | Producer: Essel Vision Productions
Cast: Shriranga Mahajan, Saili Bhandarkavthekar, Pushkar Lonarkar,
Nandita Dhuri, Vanmala Kinikar
2014 | Marathi | Digital | Colour | 90 min
136
05-05-2015 18:03:12

KILLA
Coping with the recent death of his father, eleven-year-old Chinu
moves to a small Konkan town from a big city. He nds it difcult
to adjust to the new place and 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
nished his doctors degree, Prakashs father Baba Amte took him
on a picnic to Hemalkasa. The picnic became a turning point in
Prakashs 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 fortyve years of struggle, Hemalkasa has become an example to the
world.
Director: Samruoddhi Porey | Producer: Samruoddhi Porey
YELLOW
Gauri is born with Downs 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 Gauris life.
Director: Mahesh Limyae | Producer: Uttung Hitendra Thakur
Cast: Mrinal Kulkarni, Upendra Limaye, Hrishikesh Joshi, Gauri
Gadgil, Manoj Joshi, Snjana Rai
2013 | Marathi | Digital | Colour | 130 min
LOKMANYA EK YUGPURUSH
The 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
ghter, comments on the socio-political situation of todays 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. Ltd
Cast: Subodh Bhave, Sameer Vidhvans, Angad Mhaskar, Chinmay Mandlekar
2014 | Marathi | Colour | 139 min
Cannes Film Market
137
05-05-2015 18:03:19

A RAINY DAY
Aniket is an achiever who wants to get rich quick and resorts to any
means for that. His wife Mugdha doesnt approve of his deeds. When
life seems to be ne he discovers that shes 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 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, selsh touts,
who for their own motives shatter the peaceful tribe.
Director: Sabyasachi Mohapatra | Producer: Susant Mohapatra
Cast: 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 interreligion 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
Indian Panorama section at IFFI Goa showcases

the best of films from across India
138
05-05-2015 18:03:23
CFSI Films
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: marketing@cfsindia.org
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
identies his own strength.
Genre: Childrens Feature |
Director: Seemaa Desai | Email: marketing@cfsindia.org
GATTU
In a small town in central India, kids and adults are equally
obsessed with kite-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: marketing@cfsindia.org
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: marketing@cfsindia.org
Cannes Film Market
139
05-05-2015 18:03:28
FILMS FROM NATIONAL FILM

DEVELOPMENT CORPORATION
FIG FRUIT AND THE WASPS (ATTIHANNU MATTU KANAJA)
Gouri, a documentary 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 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 t in
to a landscape and climate as much mental as physical. Some time
vision isnt what is visible, sound isnt exactly what is heard.
Director and Writer: M S Prakash Babu
Production Company: NFDC
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 mothers
helplessness who cleans the cowsheds of the local strongmans
mansion, with whom she also has a secret liaison. When the boys
elder brother comes on a vacation to the village, he soon nds out
about his younger brothers 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 strongmans
daughter? Inspired by a true event, Chauranga (Four Colours) is a
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 Films
Co-Production - NFDC
140
05-05-2015 18:03:29

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 gure who
leads him to Paradise, a night-club where teenage girls dance to a
leering crowd. He is convinced he will 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) Innitum Productions (IN),
Aryasaa Cine productions (IN)
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 lm Majhi - the Mountain man is a true
story about that legendry man- a story, so true that it is stranger
than 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 Ltd
Co-Production - NFDC
QISSA
Set in post-colonial India, QISSA tells the story of Umber Singh, a Sikh,
who is forced to ee his village due to ethnic cleansing at the time of
partition in 1947. Umber decides to 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
Cannes
nes Fi
Film
lm Mar
Market
ket
141
05-05-2015 18:03:33
MARKET SCREENINGS
FROM INDIA
THURSDAY, MAY 14
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.
Palais K 16:00hrs
Director: Rajamouli Sri Sailasri | Producer: Prasad Devineki

(Arka Mediaworks), Shobu Yarlagadda (Arka Mediaworks)
Cast: Prabhas Uppalapati, Rana Daggubati , Tamannaah Bhatia,
Anushka Shetty | International Sales: shobuy@arkamediaworks.com
Tamil, Hindi - Epic, Drama - 145 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 nd out what truly happened to his brother.
Palais I 16:00hrs
Director: Prashant Nair | Producer: Swati Shetty (Samosa

Stories Entertainment Pvt. Ltd.), Manish Mundra
Cast: Suraj Sharma, Tony Revolori, Smita Tambe, Adil Hussain,
Rajesh Tailang, Amit Sial, Pramod Pathak, Prateik Babbar |
International Sales: manish@drishyamlms.com
Hindi - Drama, Comedy - 100 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 didnt do it. But, the State will make sure he gets the capital
punishment.
Palais K 20:30hrs
Director: Remy Kohli | International Sales:

shobuy@arkamediaworks.com | Rectangle Media Pvt Ltd
Hindi, English - Drama, Thriller, 135 Minutes
142
05-05-2015 18:03:38
FRIDAY, MAY 15
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 familys 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:
rohits@in.foxstarstudios.com; kanika.vasudeva@in.foxstarstudios.com
Completed - Tamil - Children's, Family, Drama - 99 Minutes
Palais F 09:30hrs
FEAST OF VARANASI
Palais B 11:30hrs
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 mothers suicide.
Arjun Das, a CBI ofcer from New Delhi is sent to Varanasi to nd
the killer. For Arjun its a return to his home and a city he left behind.
As the Hindu festival of re and colour Holi approaches Kasi prepares
to claim the greatest sacrice, 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 lm unlike any other
made in India.
Director: Rajan Kumar Patel | Producer: Rajan Kumar Patel
(Raalms), Ketal Patel (Dreamit Filmit ), Caroline Oreilly (Raalms)
Cast: Adil Hussain, Tannishtha Chatterjee, Holly Gilbert, Judi
Bowker, Ashwath Bhatt | International Sales: rajan@raalms.co.uk
Post-Production - Hindi - Drama - 113 Minutes
BOMBAY VELVET
Palais I 18:00hrs
Set against the jazz age of Mumbai, the story spans a period from the
late 1940s through to the 1970s 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 metropolis
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 metropolis. Set against the jazz age of Mumbai, the story
spans a period from the late 1940s through to the 1970s when the
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 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: rohits@in.foxstarstudios.com; kanika.
vasudeva@in.foxstarstudios.com
Hindi - Drama - 212 Minutes
Cannes Film Market
143
05-05-2015 18:03:40

ROAR: TIGERS OF THE SUNDARBANS
LERINS 1 17:30hrs
A thrilling, action adventure, where Uday, a photojournalist rescues a

white tiger cub caught in a poachers trap. He brings the cub to a local
village, causing the villagers to panic until the forest warden takes
the cub away. The cubs mother, a white Tigress, enters the village at
night and when she cant nd her lost cub, she unleashes her wrath on
Uday and disappears with his dead body. Udays brother puts together
a crack commando team and a local tracker on a do-or-die mission
to recover his brothers 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@fmail.com; Fantastic Films International
Completed - Hindi, English - Action/Adventure - 123 Minutes
SATURDAY, MAY 16
UMRIKA
PALAIS H 09:30hrs
International Sales: roxane@fmail.com; Fantastic Films International
RIVIERA 4 11:00hrs
International Sales: shobuy@arkamediaworks.com | Rectangle Media Pvt Ltd
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 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
GRAY 5 12:00hrs
Director: Madhureeta Anand | Producer: Tilak Sarkar (Starre

Movies), Q Celine Loop (Overdose Joint), Madhureeta Anand (Ekaa Films)
Cast: Meenu Hooda, Ridhima Sud, Kuldip Ruhil | International
Sales: celine@overdosejoint.in
Hindi - Social Issues, Crime, Bollywood - 108 Minutes
144
05-05-2015 18:03:43

BEYOND BLUE - AN UNNERVING TALE OF A DEMENTED MIND
Beyond Blue is an unnerving tale of Manas's demented
mind. An unknown crime fantasy lm which revolves around
a man's mysterious and miserable wonderland.Log Line
Beyond Blue is an unnerving tale of Manas's demented mind.
An unknown crime fantasy lm which revolves around a man's
mysterious and miserable wonderland.
GRAY 5 14:00hrs
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: omkaracharya@outlook.com
Hindi - Crime, Fantasy - 99 Minutes
BOMBAY VELVET
PALAIS F 17:30hrs
International Sales: rohits@in.foxstarstudios.com; kanika.vasudeva@in.foxstarstudios.com
FIREFLIES
A tragic incident from their childhood has colored the relationship
of two estranged brothers and their journey to nd true love.
Fireies 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.
GRAY 5 18:00hrs
Director: Sabal Singh Shekhawat | Producer: Sabal Singh

Shekhawat | Cast: Rahul Khanna, Arjun Mathur, Shivani Ghai,
Monica Dogra |
International Sales: info@montecristoentertainment.com
English - Family, Drama - 103 Minutes
Cannes Film Market
145
05-05-2015 18:03:44
SUNDAY, MAY 17
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: nathan@stray-dogs.com
Marathi - Crime, Drama, Thriller - 82 Minutes
GRAY 4 11:30hrs
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 Salmas journey through kinship,
friendship, love, failure, and success in the boxing ring.
Director: Judhajit Sarkar | Producer: Tilak Sarkar (Starre Movies)
| Cast: Naseeruddin Shah |
International Sales: smilelms.india@gmail.com
Bengali - Drama - 108 Minutes
GRAY 5 14:00hrs
MONDAY, MAY 18
BAAHUBALI
PALAIS J 17:30hrs
International Sales: shobuy@arkamediaworks.com
146
05-05-2015 18:03:47

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: iti.vikramaditya@gmail.com
Oriya - Documentary, Social Issues - 106 Minutes
PALAIS E 18:30hrs
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 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 lm.
GRAY 5 18:00hrs
Director: Sucheta Phule | Producer: Amit Hundekari |

Cast: Aastad Kale, Girija Oak, Anahita H
English, Marathi - First Film, Drama - 70 Minutes
BOMBAY VELVET
PALAIS I 18:00hrs
International Sales: rohits@in.foxstarstudios.com; kanika.vasudeva@in.foxstarstudios.com
Cannes Film Market
147
05-05-2015 18:03:48
TUESDAY, MAY 19
THE ANSWER
The Answer tells the powerful true story of an American, James
Donald Walters. The 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.
PALAIS C 10:00hrs
Director: Pavan Kaul | Producer: Kaveeta Oberoi Kaul (Yogananda

Films / Kriya Movies) | Cast: Victor Banerji, Leonidas Gulaptis |
International Sales: info@euramcopictures.com
English - Drama, Historical - 108 Minutes
THE ANSWER
PALAIS C 14:00hrs
International Sales: shobuy@arkamediaworks.com
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 trafcking maa 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 maa kingpin.
Director: Pradeep Sarkar | Producer: Aditya Chopra (Yash Raj
Films) | Cast: Rani Mukerji |
International Sales: avtar@yashrajlms.com
PALAIS J 15:30hrs
Hindi - Drama - 113 Minutes
148
05-05-2015 18:03:48

CALCUTTA DETECTIVE (DETECTIVE BYOMKESH BAKSHY!)
In a contemporary interpretation of war torn Calcutta during the 1940s,
the lm follows the rst adventure of Byomkesh, fresh out of college,
as he pits himself against an evil genius who is out to destroy the world.
Its 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 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 rst time in a Hindi
feature.
PALAIS J 17:30hrs
Director: Dibakar Banerjee | Cast: Sushant Singh Rajput |

Hindi - Action/Adventure - 140 Minutes
WEDNESDAY, MAY 20
PALAIS I 09:30hrs
International Sales: shobuy@arkamediaworks.com | Rectangle Media Pvt Ltd
THE ANSWER
PALAIS C 10:00
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 |
PALAIS H 11:30hrs
Cannes Film Market
149
05-05-2015 18:03:49

THE ANSWER
PALAIS C 14:00
PIKU
PALAIS H 15:30hrs
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 doesnt seem possible not for
the lack of trying but shes 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
wont let go when dealing with each others 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 others moods and
idiosyncrasies and it reveals more than Bhashkors bathroom habits.
Piku is a heart warming slice of life lm about a father daughter
relationship where Bhaskors irritating yet endearing demeanor and
Pikus 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 |
Log on to
for more film listings
150
05-05-2015 18:03:49
FILMING
IN INDIA
India_Film_Guide_2015_Inner_Pages_149-252.indd 151
13-05-2015 12:54:04
Filming in India
SHOOTING
LOCALES
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.
152
13-05-2015 12:54:05
Filming in India
French 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 lm in India.
Portions of French lm Les Cowboys directed by Thomas Bidegain and Produced by Les Productions
du Trsor was shot in Rajasthan, India. Les Cowboys will be screened in the Directors Fortnight
sidebar of the Cannes Film Festival 2015
Cannes Film Market
153
13-05-2015 12:54:07
Filming in India
Foreign Films Shot in India

Over 100 foreign lms were given permission to
shoot in India by the Ministry of Information and
Broadcasting in the last three years
2014
GATEWAY TO HEAVEN
CHINA
2013
THE AMAZING TRIP TO

INDIA
CHINA
ALONE
FRANCE
INTERPRETER OF
MALLDIES
NEW YORK, USA
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
POINT BREAK
GERMANY
HOMELAND SEASON-4
CALIFORNIA
PORNU DAIGHO PREM
KAHANI-2
BANGLADESH
DR. CABBIE
CANADA
I ORIGINS
NEW YORK, USA
VICEROYS HOUSE
UNITED KINGDOM
LONDON HAS FALLEN

UNITED KINGDOM
NIGHT FALLS IN INDIA

MADRID, SPAIN
ROMEO VS JULIET
BANGLADESH
BASMATI BLUES
USA
MASAAN
FRANCE
TEEN TAAL
UNITED KINGDOM
UN PLUS UNE
FRANCE
VICENTE FERRER
SPAIN
COW BOYS
FRANCE
BABY SELLERS
NORTH VANCOUVER (BRITISH
COLUMBIA)
HAMSAFAR KHORSHID
IRAN (UAE)
LION
AUSTRALIA
DHEEPAN
FRANCE
SENSE 8
UNITED KINGDOM
BLACK DIAMOND
FRANCE
PIXELS
CALIFORNIA
DEV BHOOMI
SERBIA
SHARBAT
NEW YORK, USA
A NEW LIFE
GERMANY
MILLION DOLLAR ARM
CALIFORNIA, USA
BIYER PHANDE
DHAKA, BANGLADESH
154
13-05-2015 12:54:13
Filming in India
Basmati Blues, USA
I Origins, New York, USA
London Has Fallen, UK
The Second Best Exotic Marigold Hotel, UK
Million
Dollar Arm,
California, USA
The Man Who Knew Innity, UK
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
PARCHED
USA
IRYU (MEDICAL DRAGON)
JAPAN
FLIPOUT
UNITED KINGDOM
UTOPIA
UNITED KINGDOM
KABULY PATHAN
AFGHANISTAN
JET TRASH
UNITED KINGDOM
EVEREST
UNITED KINGDOM
Cannes Film Market
155
13-05-2015 12:54:14
Filming in India
Shooting Guide
Here is the complete checklist provided by the
Ministry of Information and Broadcasting on obtaining
permission to shoot a feature lm in India. It is
advisable to engage a (good) production service company to help you manage your project.
temporary import from customs duty.
WHAT SHOULD ACCOMPANY YOUR

APPLICATION?
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.
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 nal,
detailed shooting script, a draft/cheque
for US$ 200 drawn in favour of Pay&
Accounts Ofcer, 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.
In case any living personality is portrayed

in the 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 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.
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
156
13-05-2015 12:54:17
Filming in India
Do your homework
before picking your
facilitator for your
lm project.
If your lm requires shooting in the scenic
but sensitive areas of Jammu & Kashmir,
North Eastern India or border belts, your
application will be considered for specic
approval in consultation with the Ministry
of Home Affairs. In such cases, you would
need to allow more time to process your
application.
you to get local clearances, and provide an

interface with any local institutions. Where
a liaison ofcer 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
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
lms made on subjects of political, religious
or socio-cultural sensitivity, and is focused
on ensuring that the lm has been shot in
accordance with the scrutinized script and
that the lm has nothing objectionable
from the point of view of presentation of
a correct and balanced perspective on the
topic covered.
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 ofcer may be attached
to a lm shooting team. This ofcer will help
Cannes Film Market
During the shooting of the 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.
157
13-05-2015 12:54:19
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 Broadcastings letter No. dated
. we hereby give the following undertakings: i. Shooting of the 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 arrival of the team in India. We note that prior approval of the Government of India is necessary
for the 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 lm only in the presence of a Liaison Ofcer where attached to the team by
the Ministry of Information and Broadcasting.
v. We accept that part of the Liaison Ofcers duty will be to ensure that nothing detrimental in
the depiction of India or the Indian people shall be shot or included in the lm. In the event of
any disagreement arising between the team and the Liaison Ofcer in this respect, the matter
will be immediately referred to the Ministry of Information and Broadcasting whose decision will
be nal. We shall ensure that Indias security interests are not compromised in any manner.
vi. We undertake to show our completed 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 lm that may be found objectionable on such scrutiny by the Government of India, before the lm is utilized for public exhibition
anywhere in the world.
vii. After the shooting of the 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
158
13-05-2015 12:54:21
Filming in India
Travel and Accommodation: Access to any
part of the country with all sorts of boarding
and lodging facilities.
WHAT THE PROFESSIONAL SERVICES

COMPANY WILL DO FOR YOU
Do your homework before picking your
facilitator for your project.
Legal procedures/Government permissions:
They will be able to assist you with Locations:

Locations across the country
1. Legal contracts and agreements
Talent: Actors,
dancers, etc.
3. Film nance and insurances
models,
extras,
2. Clearing and forwarding/customs
singers,
Please provide the Information and

Broadcasting Ministry with the following
information while making your enquiry:
Technicians: Art directors, cameramen,

costume designers, directors, editors,
lyricists, make up stylists, music directors,
photographers, script writers, sound
Name of the Company

Applicants name and designation
recordists, etc.
Your contact address, email, telephone

nos
Equipment: 35mm/16mm cameras (ARRI and

PANAVISION), HD camera, jibs and cranes,
dollys and panthers, steadycams, lenses and
lters, lighting equipment and lights, motion
control rigs and gribs, generators, follow cars,
DVD hard disk based sound recorders, mikes
and booms, etc.
Project title and language

Nature of project (Film/TV/Docu/Ad Film)
Synopsis in English
Duration of lming in India
No. of crew travelling to India
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).
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

GOVERNMENT OF INDIA
SHASTRI BHAVAN, NEW DELHI - 110001 INDIA
us-moib@nic.in
PH: +91-11-23384995
Cannes Film Market
159
13-05-2015 12:54:23
INDIAN FILM SHOOTING LOCALES
Filming in India
Ladakh
Karnataka
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.
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.
Puducherry
New Delhi
Ang Lees Oscar winning lm Life of

Pi was shot partly in Puducherry (in
South India). That has transformed
Puducherry into a paradise for
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.
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 worlds fastest
growing and largest metropoles today.
160
13-05-2015 12:54:24
Filming in India
Maharashtra
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 lmmakers. These locales
cater to every mood for every canvas.
India in microcosm, Mumbai, or Bombay

as it was once known, provides an excellent
backdrop for the race that always 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
Himachal Pradesh
The British are long gone but the colonial

inuence still remains, in the look of its
buildings and monuments. Interiors and
mindsets that havent 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.
From hills to mountains, capped by

snowy peaks; punctuated by passes
and glaciers. Dotted by rich 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 ora and fauna and regions that
experience temperature extremes.
Cannes Film Market
Gujarat
161
13-05-2015 12:54:29
Filming in India
Goa
Rajasthan
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.
Rajasthan is lmmakers paradise

and a dream destination for lm
shooting - inspiring forts, majestic
mansions, havelis of architectural
splendour, heritage hotels, picturesque
surroundings, wilderness of silence.
The State has a lm-friendly policy and
encourages lmmakers both within
and outside the country.
Varanasi
Kerala
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.
Kerala, commonly referred to as Gods

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.
162
13-05-2015 12:54:38
Filming in India
Jharkhand
Ramoji Film City in Hyderabad is the worlds

largest integrated lm studio complex and one
of Asias most popular tourism and recreation
centers. Hyderabad features many heritage
buildings constructed during Qutb Shahi
and Nizam eras, showcasing Indo-Islamic
architecture inuenced by Medieval, Mughal
and European styles. Hyderabad houses the
Telugu lm industry which produces over 200
lms each year.
Jharkhand is a nature lovers paradise. It is

home to countless waterfalls -- Hundru Falls,
Lodh Falls and Johna Falls. The States locales
include forests, hills, valleys, waterfalls,
wildlife, history, culture, charming towns and
vibrant cities. It is an unexplored paradise and
will be lmmakers delight for new locales.
Kashmir
Madhya Pradesh
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.
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.
Cannes Film Market
Hyderabad
163
13-05-2015 12:54:48
13-05-2015 12:54:54
FILM
BODIES
Ministry of Information and

Broadcasting, Government of India
Cannes Film Market
165
13-05-2015 12:54:54
Indian Film Bodies
Directorate of Film
Festivals
DFF promotes international friendship, provides access
to new trends in world cinema, generates healthy
competition and, in the process, helps improve standard
of lms.
irectorate 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
Indias participation in Festivals abroad,
arranges programmes of foreign lms in India
and Indian 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
Dadasaheb Phalke Award.
and
the
Cultural Exchange Programme and

organizing screening of Indian lms through
the missions abroad.
Selection of Indian Panorama.
Participation in International Film Festivals
abroad.
Special 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 eld
of cinema. It also provides a powerful platform
for Indian cinema and opens up commercial
opportunities for Indian lms. Within the
country, the latest trends in global cinema are
made accessible to the general public, lm
industry and students.
DFF provides a powerful platform for

Indian cinema and opens up commercial
opportunities for Indian lms
166
13-05-2015 12:54:55
Indian Film Bodies
National Film Awards

he National Film Awards is one of the most
prominent lm award ceremonies in India.
Established in 1954, it aims at encouraging the
production of 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 Cinemas
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 ofcials. 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: dir.dff@nic.in;
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
Cannes Film Market
167
13-05-2015 12:54:55
Indian Film Bodies
International Film Festival

of India
The aim of IFFI is to provide a common platform for the
cinemas of the world to project the excellence of lm art
ne 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
lm art; contributing to the understanding
and appreciation of 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 exemplies 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
IFFIs
founding
principles
centre
on discovery, promotion and support of

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 worlds greatest lm
artistes hold hands with emerging talents on
an equal footing. It is also a forum for lm
professionals to communicate face to face
with 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 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.
IFFI, Goa, 2014 Stats
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.
168
13-05-2015 12:54:55
Indian Film Bodies
IFFI, Goa
FIAPF-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
reecting the values and aesthetics the nation.
A total of over 315 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.if.nic.in
EMAIL: ifgoa2015@gmail.com, iflms@gmail.com
DIRECTOR: C Senthil Rajan
OBJECTIVE: Platform for the cinemas of the world
November 20-30, 2015
ADDRESS: International Film Festival Of India,Ministry of

Information & Broadcasting Government of India, Siri Fort
Auditorium Complex, August Kranti Marg, New Delhi-110049
Cannes Film Market
169
13-05-2015 12:54:55
Indian Film Bodies
Childrens Film Society,

India
CFSI remains the prime producer of childrens lms
in India and has created some of the most delightful
content in the country.
hildrens 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 lms, serials, animations &
documentaries as well as numerous other
activities to strengthen the childrens lm
movement in India.
CFSI remains the prime producer of childrens

lms in India and has created some of the most
delightful childrens content in the country.
Since prot is not the only motive, CFSI is able
to support young talented lmmakers and
their imaginative lms that would otherwise
not nd other commercial producers.
CFSI lms always encourage children to
reect upon and engage with the world around
them. These lms are made in several Indian
languages and emanate from diverse cultural

regions within India. Several stalwarts from
the Indian lm industry have directed lms
for CFSI and many of its lms have won
prestigious international and national awards.
CFSI promotes lms that provide healthy
and wholesome entertainment for children
to broaden their perspective and encourage
them to reect on the world around. With an
enviable catalogue of 250 lms in 10 different
languages, CFSI remains the prime producer
of children's lms in South Asia. We also
organise lm screenings across the country,
reaching out to approximately four million
children annually.
CFSI is committed to strengthening the
children's lm movement within India and
promoting Indian produced children's lms
across the globe. CFSI also conducts a world
renowned biennial International Childrens
Film Festival Golden Elephant.
With a catalogue of 250 lms in 10

languages, CFSI remains the prime
producer of children's lms in South Asia
170
13-05-2015 12:54:56
Indian Film Bodies
International Childrens
Film Festival India
nternational Childrens 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 childrens
cinema to young audiences in India. Outstanding features,
shorts, live action and animation lms are screened over
seven days of festive celebrations, attended by more
than one hundred thousand children. Hundreds of 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 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 lm world and
allied elds will preview the 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
icf@cfsindia.org
Cannes Film Market
SPOT INFORMATION:
+ 91 22 2352 2870
WEB SITE: www.cfsindia.org
EMAIL: festival@cfsindia.org;
marketing@cfsindia.org;
CEO: Shravan Kumar
FOCUS: To strengthen children's
lm movement in India.
ADDRESS:
Children's Film Society India,
8th Floor, Films Division Complex
24-Dr. G. Deshmukh Marg,
Mumbai-400 026 (India)
171
13-05-2015 12:54:56
Indian Film Bodies
Films Division
Films Division has actively worked in encouraging
and promoting a culture of documentary lmmaking
in India thatrespects individual vision and social
commitment.
he 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 lm. It has
actively worked in encouraging and promoting
a culture of documentary lmmaking in India
that respects individual vision and social
commitment.
It is the main lm-medium organization of the

Government of India and is well equipped with
trained lm personnel, cameras, recording
and editing facilities. This infrastructure is put
to use to assist in-house as well as freelance
lmmakers and producers.
In its archives, the Films Division of India
holds more than 8000 titles on documentaries,
short lms and animation lms.
Some of the lms produced by Films Division
are telecast on national / local television
networks. Educational institutions and social
organisations all over the country borrow
lms of Films Division from its branch ofce
libraries maintained all over India. VCD/DVD of
the lms are sold to interested people, public
and private institutions at nominal cost.
172
The External Publicity Division of Ministry of

External Affairs, Govt. of India, distributes
prints of selected lms to Indian Missions
abroad. The lms are also commercially
exploited on Royalty basis by supplying to
overseas video /TV networks.
Films Division has 10 Distribution Branch
Ofces 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 nontechnical persons for
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.
13-05-2015 12:54:57
Indian Film Bodies
We need image here
Mumbai International
Film Festival
he Mumbai international Film Festival for Documentary,
Short and Animation 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 lm festival
for non-feature genre in the South Asia and Films Division has
successfully organized 13 editions of the lm festival. The 14th
edition of MIFF will be held in January-February,2016 in Mumbai.
The MIFF attracts best 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.
Cannes Film Market
SPOT INFORMATION:
+91 22 2355 1301/2351 3633
WEBSITE: http://www.lmsdivision.org / www.miff.in
EMAIL: dgfd@lmsdivision.org
dglmsdivision@gmail.com
DG: V. S. Kundu
OBJECTIVE: Promoting documentary lm culture in India
ADDRESS: Films Division, Ministry of Information & Broadcasting, Government of India, 24 Dr.
G. Deshmukh Marg, Mumbai-26.
173
13-05-2015 12:54:57
Indian Film Bodies
National Film Development

Corporation
As 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.
ncorporated in the year 1975, NFDC was
formed by the Ministry of Information and
Broadcasting, with the primary objective of
promoting the Good Cinema Movement.
to support the development, nancing and

distribution of independent lms across the
country. Film Bazaar, a NFDC initiative, has been
an integral part of this process.
NFDC has over the years produced noteworthy

lms with acclaimed 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.
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 Asias global Film Market, which
is a platform exclusively created to encourage
collaboration between the international and
South Asian lm fraternity. The Bazaar is focused
on discovering, supporting and showcasing
South Asian content and talent, in the realm
of lmmaking, production and distribution. A
converging point for 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 Ofces, a new segment, has been introduced
at Film Bazaar 2014, to bring to our lmmakers
the world of picturesque locations that would
t into their scripts and add value to their lms.
The basic objective of Film Ofces is to connect
Indian State Tourism bodies and International
Film Commissions with Indian lmmakers.
The Ofces provide these organizations with
a platform to showcase their locations and
incentives that will benet both the country and
the lmmaker.
With nancial support extended to more than

300 lms in 21 regional languages, NFDCs
architecture aims towards creating domestic
and global appreciation of good cinema.
Apart from its unique positioning in the lm
industry as a 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 signicant
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 lms, NFDC has
been instrumental in creating an ecosystem
174
13-05-2015 12:54:58
Indian Film Bodies
Film Bazaar India

FDC organises the Film Bazaar (20th - 24th
November 2015, Goa Marriott Resort), South
Asias global Film Market, which is a platform
exclusively created to encourage collaboration
between the international and South Asian lm
fraternity. The Bazaar is focused on discovering,
supporting and showcasing South Asian
content and talent, in the realm of lmmaking,
production and distribution. A converging
point for 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 Ofces, a new segment, has been
introduced at Film Bazaar 2014, to bring to
Indian lmmakers the world of picturesque
locations that would t into their scripts and add
value to their lms. The Ofces provide these
organisations with a platform to showcase their
locations and incentives that will benet both
the country and the lmmaker.
Cannes Film Market
SPOT INFORMATION: +91 22662 88288

WEBSITE: http://www.nfdcindia.com/
EMAIL: nfdc@nfdcindia.com
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.
175
13-05-2015 12:54:58
Indian Film Bodies
Film and Television

Institute of India, Pune
Designed 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.
he 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.
great work. Celebrated guest speakers from

the lm, television, and media industries
frequently visit FTII to share their knowledge
and experience with our students.
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
Women in Film and Television, India (WIFT)

was launched last year at FTII, Pune. WIFT
India is a global not-for-prot organisation
dedicated to provide a dynamic platform to
facilitate and recognize the achievement of
women in lm, TV and multi-screen media.
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 handson 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 lm schools.
SPOT INFORMATION: +91-020-25431817

WEBSITE: http://www.ftiindia.com
EMAIL: tutorial_sec@ftiindia.com
DIRECTOR: D.J.Narain
OBJECTIVE: National Centre of Excellence
ADDRESS: Film and Television Institute of India, Law College Road,
Pune 411 004
176
13-05-2015 12:54:58
Indian Film Bodies
Satyajit Ray Film and

Television Institute,
Kolkata
A national centre of excellence which offers post graduate programmes in cinematic studies, the institute is
named after legendary lmmaker Satyajit Ray.
amed after the legendary lm maestro

Satyajit Ray, the Institute has emerged
as a national centre of excellence which offers post-graduate programmes in Cinematic
studies.
craft and entrepreneurial abilities. By proving their mettle as dedicated professionals,

they have increased the acceptability of current students in the complex and competitive
world of lmmaking.
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, experimental or non-ction narratives. The Institute has
crossed many milestones towards a new paradigm of the art and craft of Filmmaking.
With state-of-the art facilities, SRFTI provides a creative ambience to inspire the budding lmmakers with an innovative language
of artistic expression.
SRFTIs alumni have won accolades regularly

through their mastery over lmmaking. They
have been trendsetters, changing the course
of lmmaking through the fusion of thought,
And their contribution builds the blocks for

better Cinema. SRFTI is a member of CILECT,
International Association of Film and Television Schools (Centre International de Liaison
des Ecoles de Cinma et de Tlvision).
SRFTI will soon commence three year post
graduate programme in Animation.
SPOT INFORMATION: +91-033-24328355/8356/9300

WEBSITE: www.srfti.gov.in
EMAIL: director@srfti.ac.in
DIRECTOR: Sanjay Pattanayak
OBJECTIVE: National Centre of Excellence
ADDRESS: Satyajit Ray Film & Television Institute, E.M.Byepass Road,
P.O. Panchasayar, Kolkata-700094
Cannes Film Market
177
13-05-2015 12:54:58
13-05-2015 12:54:59
CO-PRODUCTION
AGREEMENTS
Between India & other Countries

Cannes Film Market
179
13-05-2015 12:55:00
Co-Production Agreements
BRAZIL
AGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC
OF INDIA AND THE GOVERNMENT OF THE FEDERATIVE
REPUBLIC OF BRAZIL ON AUDIO VISUAL CO-PRODUCTIONS.
Th
The G
Government off the
h R
Republic
bli off I
India
di and
d
the Government of the Federative Republic
of Brazil (hereinafter referred to as the Contracting Parties)
Seeking to enhance co-operation between
their two countries in the audio-visual area;
Desirous of expanding and facilitating the CoProduction of audio-visual works, which may
be conducive to the development of the 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;
2.
Work
2 Audiovisual
A di i l W
k means any record
d off a
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 xation, and for
which there is an expectation for public
exhibition. It includes 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.
Have agreed as follows:
3. Co-producer shall be:

a. As regards the Republic of India:
Article 1
Denitions
For the purposes of this Agreement
1. Audiovisual Co-Production means an
audiovisual work jointly invested in and
produced by one or more Brazilian Coproducers and one or more Indian Coproducers under a project approved by
both Competent Authorities.
(i)
Nationals/citizens of the Republic

of India;
(ii) Permanent residents of India; and

(iii) Entities which are established
and/or incorporated in India.
b. As regards the Federative Republic of
Brazil:
180
13-05-2015 12:55:01
(i)
Nationals/citizens of the Federative

Republic of Brazil;
(ii) Permanent residents of Brazil;

and
(iii) Entities which are established
and/or incorporated in Brazil.
3. In considering proposals for the making

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
4. Competent Authority means:

a. On behalf of the Federative Republic of
Brazil, the Ministry of Culture; and
Contributions
1. For each Audiovisual Co-Production:
a. The performing, technical, craft
and creative participation of the Coproducers; and
b. On behalf of the Republic of India,

the Ministry of Information and
Broadcasting.
b. The production expenditure of the Coproducer in the Republic of India or in

the Federative Republic of Brazil shall
be in reasonable proportion to their
respective nancial contributions and
as mutually decided by both the Coproducers.
Article 2
Benets
1. An Audiovisual Co-Production shall
be treated as a national Audiovisual
Work by both Contracting Parties and,
therefore, shall be fully entitled to all the
benets which are or may be accorded to
national audiovisual works by each of the
Contracting Parties under their respective
national laws.
2. Any benets available in Brazil may only
be accorded to a Brazilian Co-producer.
3. Any benets available in India may only be
accorded to an Indian Co-producer.
4. The sharing of expenses and revenues shall
be as mutually decided by the Co-producers.
Article 3
2. Both the nancial contribution, and the

managerial, performing, technical, craft
and creative participation of each Coproducer shall account for at least 20%
(twenty per cent) of the total budget of the
Audiovisual Co-Production.
3. Notwithstanding the contribution and
participation rules set out in paragraphs 1
and 2 of this Article, in exceptional cases
both Competent Authorities may approve
Audiovisual Co-Productions where:
a. The contribution by one Co-producer is
limited to the provision of nance only,
in which case the proposed nanceonly contribution shall be 20% (twenty
per cent) or more of the total budget of
the Audiovisual Co-Production; or
Approval of Projects
1. Audiovisual
Co-Productions
shall
require, prior to the commencement of
shooting, approval of both the Competent
Authorities.
2. Approvals are granted under their
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 CoProduction itself.
Cannes Film Market
a. Despite falling outside the contribution

rules, the Competent Authorities
consider that the project would further
the objectives of this Agreement and
should be approved accordingly.
4. Subject to the specic conditions and limits
laid down in laws and regulations in force
in the Contracting Parties, in the case of
multilateral Co-Productions the minority
181
13-05-2015 12:55:04
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-Productions
1. Where either the Republic of India or the
Federative Republic of Brazil maintains
with a third country an Audiovisual CoProduction 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.
2. Approvals under this Article shall be limited
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
Participants
1. The screenwriters, the director, actors
and other artistic and technical personnel
participating in an Audiovisual CoProduction shall be:
a. As regards the Republic of India,
(i) Nationals/citizens of Republic of
India; and
(ii) Permanent residents of India.
b. As regards the Federative Republic of
Brazil,
(i) Nationals/citizens of the Federative
Republic of Brazil; and
(ii) permanent residents of Brazil.
c. In cases in which there is a third Coproducer,
(i) Nationals/citizens of the third Coproducers country; and
(ii) Permanent residents of the third
Co-producers country.
2. Participants in an Audiovisual CoProduction as dened 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.
3. In exceptional cases, both Competent
Authorities may approve Audiovisual
Works
a. where script or nancing dictate the
engagement of performers from other
countries; and
b. where artistic or nancing reasons
dictate the engagement of technical
personnel from other countries.
Article 7
Negatives, First-Release Print and Languages
1. At least one negative and one duplicate
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.
2. Audiovisual Co-Productions shall be made
and processed up to the manufacture of
the 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-producers country.
3. The original soundtrack of each Audiovisual
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.
182
13-05-2015 12:55:06
4. The dubbing or subtitling into one of the
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 11
Temporary Entry into the Country
1. For approved Audiovisual Co-Productions,
each Contracting Party shall facilitate, in
accordance with the domestic law in force
in its country:
a. Entry into and temporary residence in
its territory for technical and artistic
personnel of the other Contracting Party;
Article 8
International Festivals
1. The majority Co-producer shall normally
enter Audiovisual Co-Productions in
international festivals.
b. The import into and export from

its territory of technical and other
lmmaking equipment and materials
by producers of the other Contracting
Party; and
2. Audiovisual works produced on the basis

of equal contributions shall be entered as
an Audiovisual Work of the country which
the director is from.
Article 9
Location Shooting
1. The Competent Authorities may approve
location shooting in a country other than
those of the participating Co-producers.
2. Notwithstanding Article 6, where location
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
Credits
An Audiovisual Co-Production shall include
a title, in the initial credits, indicating that
the Audiovisual Work is an Ofcial Indian
Brazilian Co-Production or an Ofcial
Brazilian Indian Co-Production. The
promotional material associated with the
audiovisual work shall likewise include a credit
reecting the participation of the Republic of
India, the Federative Republic of Brazil and,
when relevant, the country of a third Coproducer.
Cannes Film Market
c. The transfer of funds destined for

payments related to the audio-visual
Co-Productions.
2. These dispositions also apply to third
parties, approved under Article 5 of the
present agreement.
Article 12
Joint Commission
1. A Joint Commission shall be established
comprising representatives of the
Competent
Authorities
from
both
Contracting Parties.
2. The role of the Joint Commission shall
be to evaluate the implementation and
operation of this Agreement and to make
any proposals considered necessary to
improve the effect of the Agreement.
3. The Joint Commission shall be convened,
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 Force
1. This Agreement shall enter into force on
the date of the second notication between
the Contracting Parties, through diplomatic
channels, conveying that the requirements
for the entry into force of this Agreement
have been satised.
183
13-05-2015 12:55:08
2. This Agreement including the Annex, which
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.
3. Either Contracting Party may terminate
this Agreement by giving six months`
written notice in advance of such intention
to the other Contracting Party through the
diplomatic channel.
4. Termination of this Agreement shall have
no effect on the completion of Audiovisual
Co-Productions approved prior to its
termination.
Article 14
Permission for Public Exhibition
1. Permission for public exhibition will be in
accordance with local laws in both India
and Brazil.
2. The approval of Co-Production status

under this Agreement will not mean a
commitment to permit public exhibition of
the Audiovisual Co-Production.
Article 15
Amendment
1. This Agreement may be amended by
mutual consent of the Contracting Parties
through the exchange of notes between
the Contracting Parties through diplomatic
channel.
Article 16
Dispute Resolution
Any 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 Federative
Republic of BRAZIL
For the Government of

Republic of INDIA
Authority within thirty (30) days

of the submission of the complete
documentation.
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)
3. The approval process under Article 3 of

this Agreement shall comprise of approval
prior to commencement of shooting of the
Audiovisual Work.
ANNEX
1. Applications for qualication of an
Audiovisual Work for Co-Production
benets under this Agreement must be
made simultaneously to both Competent
Authorities at least 60 (sixty) days before
shooting begins.
4. Documentation submitted in support of an

application shall consist of the following
items, drafted in English in the case of
India and in Portuguese in the case of
Brazil:
2. The Competent Authority of one of the

Contracting Parties shall communicate
their decision to the other Competent
b. Documentary proof of having legally

acquired the copyright to produce and
exploit the Audiovisual Work.
a. The nal script and synopsis.
184
13-05-2015 12:55:09
c. A copy of the Co-Production contract
signed by the Co-producers. The
contract shall include:
(i)
Authorities in either country

refuse to grant the benets
applied for;
The title of the Co-Production;
(ii) The name of the original script writer

or that of the adaptor if it is drawn
from a literary source; necessary
permission for adapting the literary
work into a lm from the author/
legal heirs shall be attached;
2.
Either one or the other

Contracting Party fails to
full its commitments.
3.
The period when shooting is

to begin;
4.
A clause stating that the

majority Co-producer shall
take out an insurance
policy covering at least all
production risks and all
original material production
risks; and
5.
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.
(iii) The name of the director (a

substitution clause is permitted to
provide for his/her replacement if
necessary);
(iv) The budget, identifying the
expenses to be incurred by each
Co-producer;
(v) The nancing plan;
(vi) A clause establishing the sharing
of revenues, markets, media or a
combination of these;
(vii) A clause detailing the respective
shares of the Co-producers in any
over expenditure; the minority Coproducers share may be limited
to a lower percentage or to a
xed amount, provided that the
minimum proportion permitted
under Article 4 of the Agreement
is respected;
(viii) A clause recognizing that
admission to benets 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;
(ix) A clause prescribing the measures
to be taken where:
1.
After full consideration of

the case, the Competent
Cannes Film Market
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
nished. The replacement of a Co-producer
may be allowed only in exceptional
cases and for reasons satisfactory to the
185
13-05-2015 12:55:11
CANADA
AUDIOVISUAL 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-productions contribute to the vitality of the audiovisual industries of the Parties and to the
development of their economic and cultural
exchanges;

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;
Appreciating that cultural diversity is nurtured by ongoing exchanges and interaction

between cultures and that it is strengthened
by the free ow of ideas;
(b) audiovisual means lm, television, and

video projects made on any production
support, existing or future, for any distribution platform intended for viewing;
Recalling that, in pursuit of international cooperation, the UNESCO Convention on the

Protection and Promotion of Diversity of Cultural Expressions, done at Paris on October 20,
2005, encourages the conclusion of co-production agreements as a means to promote
international cooperation;
(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;
Agreeing that these exchanges will enhance

relations between the Parties;
Recognizing that these objectives may be
achieved by granting domestic benets to
qualied audiovisual co-productions;
(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 audiovisual work;
186
13-05-2015 12:55:13
(f) Indian elements are expenditures made
in India by the Indian producer or expenditures on Indian creative and technical personnel 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 benet from the application of
the relevant provisions of this Agreement;
(h) non-party means a State which does not
have a coproduction Agreement or memorandum 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 memorandum of Understanding with at least one of
the Parties;
(k) work means an eligible audiovisual work
to be subsequently recognized as an ofcial co-production by each Party and includes every version thereof.
ARTICLE 2 - GENERAL CONDITIONS
1. A Party shall treat every work as its own
production, and to that extent, make it
eligible for the same benets as those
available to its audiovisual industries.
2. Each Party shall grant the benets
referred to in paragraph 1 to the
producers of a work who are its own
nationals.
3. Each Party shall strive to achieve overall
balance on the nancing of works coproduced over a period of ve years.
ARTICLE 3 - PARTICIPATING
PRODUCERS
1. A work shall be jointly produced by
producers of both Parties.
2. In addition to producers of Canada and
India, third-country producers may also
participate in a work.
Cannes Film Market
ARTICLE 4 - PROPORTIONALITY
1. The share of work expenditures spent
on Canadian elements and on Indian
elements respectively shall be in
reasonable proportion to the producers
respective nancial contribution.
2. The administrative authorities may, by
mutual consent in writing, recommend
exemptions from paragraph 1, notably for
storyline and creative purposes.
ARTICLE 5 - NATIONALITY OF
PARTICIPANTS
1. Subject to paragraph 2, a participant in
a work shall be a national of one of the
Parties.
2. The administrative authorities may
by mutual consent in writing grant
exemptions from paragraph 1 notably to
allow third-country nationals or nonparty 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 performers 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 producers is, in principle, proportional to their respective nancial contribution in accordance with
the respective requirements of the Parties.
ARTICLE 8 - DISTRIBUTION
1. Each Party shall verify that its producer
demonstrates the existence of a
distribution or broadcasting commitment
187
13-05-2015 12:55:16
in each others territory and, if thirdcountry producers are involved in the
work, in the territory of each of the third
country producers.
domes tic procedures necessary for the

entry into force have been completed by
the Parties.
ARTICLE 13 - TRANSITIONAL
PROVISION
2. The administrative authorities may by

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.
A Party shall not discontinue benets conferred on a work pursuant to this Agreement
for a period of two years following the termination of this Agreement.
ARTICLE 14 - SETTLEMENT OF
DISPUTES
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 qualication for benets under this
Agreement.
ARTICLE 15 - ENTRY INTO FORCE
ARTICLE 10 - COMMUNICATION
Each competent authority shall promptly advise the other of any amendment or judicial
interpretation of domestic law that may affect
benets available under this Agreement.
ARTICLE 11 - STATUS OF ANNEX
1. The Annex to this Agreement is for
administrative purposes and is not part of
this Agreement.
2. The Annex may be modied by the
competent authorities by mutual consent
in writing, provided that the modications
do not conict with this Agreement.
ARTICLE 12 - MEETINGS AND
AMENDMENTS
1. Meetings will be held as needed between
representatives of the competent
authority of each Party, to discuss and
review the terms of this Agreement.
2. The Parties may amend this Agreement
by mutual consent in writing. The
amendments shall enter into force on the
date of the last written notication that
Any dispute arising out of the interpretation,

application or implementation of any provisions of this Agreement shall be settled consensually through consultation and negotiation between the Parties.
1. Each party shall notify the other Party in
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 rst day
of the rst month following the later
notication.
2. This Agreement shall remain in force for a
period of ve years from the date of entry
into force.
3. Subject to paragraph 4, this Agreement
shall renew automatically at the end of
ve years from the date of entry into force
and at the end of every subsequent veyear period.
4. A Party may give notice to the other Party
in writing of its intention to terminate this
Agreement. This notice shall be given no
less than six months before the end of the
fth year following the entry into force,
or before the end of any subsequent veyear period, in which case this Agreement
shall terminate at the end of that veyear period.
IN WITNESS WHEREOF, the undersigned, being duly authorized by their respective governments, have signed this Agreement.
188
13-05-2015 12:55:18
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

Canada
ANNEX
This Annex is for administrative purposes
and is not part of the Audiovisual Co-production Agreement between the Government of
the Republic of India and the Government of
Canada (the Agreement).
1. DEFINITIONS
Unless otherwise specied, the denitions 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 nancial contribution of the producers
of each Party will be decided by arrangement 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 minimum 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 proportion to their respective nancial contribution, and in accordance with the requirements 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 nancial contribution.
Cannes Film Market
(c) The Parties, through their administrative

may by mutual consent in writing exemptions from paragraphs (a) and (b), storyline
and creative purposes. authorities, recommend 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 thirdcountry producer.
(b) The administrative authorities may, by mutual 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 thirdcountry producer.
5. DUBBING
(a) Subject to paragraph (b), all dubbing services will be performed in the territory of
one of the Parties or of a third-country producer.
(b) Where a producer can reasonably demonstrate 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 modied
by mutual consent in writing of the competent
authorities provided that these modications
do not conict with the Agreement.
189
13-05-2015 12:55:20
CHINA
AUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN
THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE
PEOPLES REPUBLIC OF CHINA.
The MINISTRY OF INFORMATION AND

BROADCASTING OF THE REPUBLIC OF INDIA and the STATE ADMINISTRATION OF
PRESS, PUBLICATION, RADIO, FILM AND
TELEVISION OF THE PEOPLES REPUBLIC
OF CHINA hereinafter referred to as the
Contracting Parties,
CONSIDERING that it is desirable to establish 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;
documentary, cine-lm or animation 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-produced after joint investment by producers
from India and China.
1.3 Competent Authority responsible for
implementation of the Agreement shall
be a. On behalf of Republic of India,
the Ministry of Information and
Broadcasting
b. On behalf of Government of the
Peoples Republic of China, the State
Administration of Press, Publication,
Radio, Film and Television.
CONVINCED that these exchanges will

contribute to the enhancement of relations
between the two countries in the audio visual
eld;
ARTICLE 1 Denition
c. Co-production projects falling within

the scope of this Agreement shall
be subject to the approval of the
Competent Authority.
For the purpose of this Agreement:

1.1 Co- Production refers to feature lm,
d. Each co production undertaken under

this Agreement shall be in accordance
HAVE AGREED AS FOLLOWS:
190
13-05-2015 12:55:21
in writing to make appropriate changes, in
percentage, as may be deemed t.
with the laws and regulations in force

in the Contracting Parties.
1.4 Co-producer shall be:
a. In relation to India:
(i)
ARTICLE 4 Participants
4.1 The producers, writers, directors, technicians, actors and other personnel involved
in co-productions shall be citizens of
either of the countries or permanent residents of either party.
Citizens of India;
(ii) Entities which are established or

incorporated in India
b. In relation to China:
(i)
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 written permission from both the countries
authorities is obtained after explaining the
reasons of inclusion of such person.
Citizens and legal persons of

China;
(ii) Persons who are not citizens

of China but are permanent
residents of
China;
(iii) Entities which are established or
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 5 Filming and Production

Outside the Contracting Countries
ARTICLE 2 Recognition as a National Film

and Entitlement to Benets
2.1 A co-production lm shall be fully entitled
to all the benets which are or may be
accorded to national lms by each of the
Parties under their respective national
laws and regulations.
2.2 These lms shall be entitled to claim all
state support and benets available to the
lm and video industries and the privileges granted by the provisions in force in
the respective countries
ARTICLE 3 Contribution
3.1 Any benets under this Agreement shall
be available for audio visual co-production
only when investment or nance, material and management including creative
and other inputs not below 20% comes
from co-producer of one country; provided
always that specic percentage contribution 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
Cannes Film Market
5.1 Live action shooting of a co-produced lm,

including animation works such as storyboards, 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 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 China take part in the shooting.
5.3 The processing and post-production of coproductions shall be done in either India
or China, unless it is technically impossible to do so in either of the countries,
in which case the processing and postproduction in a country not participating
in the co-production may be authorized by
the competent authorities of both countries.
ARTICLE 6 Film Languages
6.1 The original soundtrack of each audio visual co-production shall be made in Hindi,
or any other Indian language or dialect, or
in Chinese or English, or in any combina-
191
13-05-2015 12:55:24
tion of those permitted languages.
ARTICLE 10 Balanced Contribution
6.2 Dialogue in other languages may be

included in the audio visual co-production,
as the script requires.
10.1 A general balance should be maintained

with regard to both the artistic and technical personnel, including the cast.
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.
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 considers necessary in order to re-establish
such a balance.
ARTICLE 7 Film Negatives
ARTICLE 11 Joint Commission
Two negatives, or at least one negative and

one duplicate negative, shall be made of all
co-produced 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.
11.1 The Joint Commission shall comprise

representatives from Governments of
both countries and from the lm industry 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.
ARTICLE 8 Temporary Entry into the

Country
11.3 The Joint Commission shall be convened at the request of either of the
Contracting Parties within six months of
such a request.
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, lm stocks
and the like.
ARTICLE 9 Property and Revenues
9.1 Both Contracting Parties jointly own the
copyrights of each co-produced 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-producers should, in principle, be proportional
to their respective contributions and this
should be negotiated and agreed, and
specied in the agreement between the
co-producers themselves. The respective
contribution of each co-producer may be
decided mutually on the basis of principles elaborated in Article 3.
ARTICLE 12 Minority and Majority

Contribution in the Case of Multilateral
Audio visual Co-productions
Subject to the specic conditions and limits
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 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 lm, which has been granted Approved
Co-production status.
13.2 Both co-producers shall shoot the lm in accordance with the approved script and submit it to respective competent authorities for
192
13-05-2015 12:55:26
examination afterwards. If there is no any
essential difference between the completed
lm and the approved script, the 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 lm is exported to a
country, which has quota limitations:
a) In principle, the co-produced 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 lm can be included in the
quota of the country that can make better
arrangements for the export of the lm.
c) If difculties still exist, the co-produced
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 lm shall when shown,
be identied 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 identication shall appear in the
credits, in all commercial advertising
and promotional materials and whenever this co-production is shown.
ARTICLE 16 Entry in International
Film Festivals
16.1 In the event of presentation at international lm festival, unless the co-producers agree otherwise, a co-production
shall be entered by the country of the
majority co-producer or, in the event of
equal nancial participation of the coproducers, by the country of which the
director is a national.
Cannes Film Market
16.2 Either of the co-producers may make

the co-produced lm access to international 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 implementation 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 Contracting 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 ratication procedures
have been completed. This Agreement
shall come into effect on the later date
of these two notications.
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 recognized 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 benet 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 coproductions.
193
13-05-2015 12:55:28
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 English language, three versions being equally authentic. In case of any divergence in interpretation, 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 PEOPLES REPUBLIC
OF CHINA
SIGNATURE
SIGNATURE
3. The following documents shall be
submitted:
3.1 The 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-production has been legally acquired;
3.3 A copy of the co-production contract
signed by the two co-producers.
Annex
Annex to Agreement On Audio Visual Coproduction Between the State Administration
of Press, Publication, Radio, Film and Television of the Peoples 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 Production Agreement between the the State
Administration of Press, Publication, Radio,
Film and Television of the Peoples Republic
of China and the Ministry of Information and
Broadcasting of the Republic of India.)
The contract shall include:

a. The title of the audio-visual coproduction;
1. Applications for qualication of a lm for

audio visual co-production benets 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 Parties 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 Coproduction status.
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 lm from the author/legal
heirs may be attached;
c. The name of the director;
d. The budget;
e. The 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
194
13-05-2015 12:55:30
percentage of the contribution of a coproducer 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)
j)
to the respective contributions for coproducers 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 nationalities and, in the case of performers, the
roles they are to play;
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;
3.6 The production schedule;

3.7 The detailed budget identifying the
expenses to be incurred by each coproducer in each country; and
A clause recognising that admission

to benets 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;
3.8 All contracts and other relevant nancial documentation for all participants
in the nancial structure.
4. The competent authorities can demand
any further documents and all other additional information deemed necessary, as
to consider the co-production application.
k) A clause prescribing the measures to

be taken where:
5. In principle, the nal shooting script (including the dialogue) should be submitted
together with all other necessary documents to the competent authorities prior
to the commencement of shooting for nal
approval.
(i) after full consideration of the

case, the competent authorities in
either country refuse to grant the
benets 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 fulll its commitments;
l) the period when shooting is to begin;
m) a clause stipulating that the majority
co-producer shall take out an insurance policy as mutually decided by the
co-producers; and
n) a clause providing for the joint ownership of copyright for co-producers and
at the same time it is proportionate
Cannes Film Market
6. 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 audio visual co-production is
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 decisions.
195
13-05-2015 12:55:32
FRANCE
AGREEMENT ON FILM CO-PRODUCTION BETWEEN THE
GOVERNMENT OF THE REPUBLIC OF INDIA AND THE
GOVERNMENT OF THE FRENCH REPUBLIC.
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 ratication by
India on 15th December, 2006 and by France
on 18th December, 2006,
DESIRING to strengthen the relationship
between India and France concerning lm
production,
HAVE AGREED AS FOLLOWS:
Article 1
For the purpose of this Agreement:
a. Film means feature length lm
including animation and documentary
lm which complies with the laws and
rules in force in each country and which
is intended to be rst shown in cinema
theatres. Both the Parties would under
this Agreement also encourage the
development of Co-Production projects
for short lms for which there is an
expectation for public exhibition, with or

without access to Public support;
b. Competent Authority means:
For India, the Ministry for Information and
Broadcasting;
For France, the Centre national du cinema
et de limage anime (CNC).
The Parties shall inform each other if the
competent authorities are replaced by others.
Article 2
1. Subject to the approval of both competent
authorities, a lm Co-produced in
compliance with this Agreement shall
be deemed to be a national lm in the
territory of each Party and shall thus be
fully entitled to all the benets which are
granted under the laws and regulations in
force in the territory of each Party.
2. The competent authority of each Party
shall provide to the competent authority
of the other Party a list of provisions
concerning these benets.
196
13-05-2015 12:55:33
If the provisions concerning these benets
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.
3. The above mentioned benets shall accrue
solely to the producer of the Party which
grants them.
4. In order to be approved as a Co-Production
under this Agreement, the lm must:
- in France, apply for Co-Production
clearance before the shooting starts,
and receive 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 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 CoProduction.
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 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 lm rating
systems of either Party.
responsible or liable for the credentials of

either of the Co-producers.
2. Each of the producers must satisfy the
following additional conditions:
a. The president(s), director(s) or
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.
b. The producer must not be controlled
legally or effectively by one or more
citizens of any country other than
India, France or the EU countries.
3. Artistic and technical participants in the
production of the 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 CoProduction in the event that the competent
authorities of the Parties so approve, after
consideration of the production needs of
the lm.
Article 4
Studio 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 3
Article 5
1. In order to qualify for the approval for

Co-Production, the producer shall have
the necessary capabilities to produce
the concerned lm. The Parties are not
1. The proportion of the respective nancial

contributions of the Co-producers of each
party to the production of the lm shall
be decided by arrangement between the
Cannes Film Market
197
13-05-2015 12:55:36
Co-producers, and shall be between 20%
(twenty percent) to 80%(eighty percent)
of the nal production costs of the 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 Coproducer(s) of each party.
2. In principle, the technical and artistic
contribution of the Co-producer of each
Party shall be in the same proportion as
its 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
1. All producers shall be the joint owners of all
the tangible and intangible elements of the
lm.
2. All materials shall be stored at a mutually
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:
a. the entry and temporary residence
in its territory for the technical and
artistic personnel of the other Party
who participate in the production of
the lm;
b. the import into, and export out of
its territory of technical equipment
and other material necessary to the
coproduction (including lm, technical
equipment, costumes, accessories,
publicity material) by the Co-producer
of the other Party.
Article 8
1. Credit titles, trailers and all publicity
material of the lm Co-Productions shall
state that the lm is a Co-Production

between India and France.
a. For the purpose of entry into different
lm festivals, the Co-producers shall
decide mutually.
b. The fact that a lm is a Co-Production
shall also be mentioned when it is
submitted to a 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 specied 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
1. The competent authorities of both the
Parties acknowledge that a lm Coproduced 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 lm
Co-Production treaty.
2. The conditions of approval of such lm as a
Co-Production shall be determined in each
individual case by competent authorities.
Article 11
1. A joint commission (hereinafter referred
to as the Joint Commission) consisting
of representatives of the competent
authorities of both Parties and experts in
related elds shall be established for the
purpose of facilitating the implementation
of this Agreement or recommending
amendments thereto.
2. During the effective period of this
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 lm industry or major
obstacles (in particular, imbalance in
198
13-05-2015 12:55:38
contribution) to the functioning of this
Agreement.
3. During its meeting sessions, the Joint
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.
4. If an imbalance in contributions has
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 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
1. This Agreement shall come into force after
each Party has informed the other Party
through ofcial diplomatic channels that
its internal ratication procedures have
been completed.
2. This Agreement shall remain in force
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.
3. Unless both Parties decide otherwise,
the termination of this Agreement shall
not affect the rights and duties of the
Parties in relation to 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
Cannes Film Market

FRENCH Republic
199
13-05-2015 12:55:40
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 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 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 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
nancial contribution.
200
13-05-2015 12:55:42
GERMANY
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 signicantly contribute to the development
of the lm industry and to an intensication 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 lms and TV and video
productions;
Mindful of the fact that the quality of CoProductions can help to expand the production
of TV and video productions of both countries;
Have agreed as follows
Cannes Film Market
ARTICLE 1
Denition 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 authorities
1. The competent authorities responsible
for the implementation of this Agreement
shall be:
a. On behalf of the Republic of India , the
Ministry of Information and;
201
05-05-2015 17:41:35
b. Broadcasting on behalf of the Federal
Republic of Germany, the Federal
Ofce of Economics and Export Control
(BAFA).
of photography, art directors, actors and

sound technicians. The contribution of
each of these persons shall be evaluated
individually.
c. Co-Productions falling within the scope

of this Agreement shall be subject
to the approval of the competent
authorities.
4. As a rule, the contribution includes at least

one leading actor, one supporting actor
and/or one qualied technical staff person,
in addition to the one person as referred to
in paragraph (3) provided that two qualied
technical staff persons may substitute for
one leading actor.
2. The Contracting Parties shall inform each

other if the competent authorities are
replaced by others.
ARTICLE 3
Approval as national lms
1. Films, which are produced within the
framework of this Agreement, shall be
deemed national lms.
2. These lms shall be entitled to claim all
state support benets available to the lm
and video industries and the privileges
granted by the provisions in force in the
respective countries.
3. ARTICLE 4
Conditions for obtaining approval of CoProduction status
1. Any benets under this Agreement shall
be available for the Co-Production only
when investment of nance, material and
management including creative and other
inputs is not below 20 % (twenty percent)
of the total cost coming from the Coproducer of one country.
5. The Co-producers in either of the two

countries shall satisfy themselves about
each others capability, including their
professional knowledge, organizational
capability,
nancial
backing
and
professional reputation. The Contracting
Parties are not responsible or liable for the
credentials of either of the Co-producers.
6. The company carrying out the CoProduction shall provide evidence that
the primary business of that company
is audiovisual (lm, television and video)
production.
ARTICLE 5
Participants
1. The persons participating in the production
of a lm shall fulll the following
requirements:
2. The Co-producers of a lm shall have their

principal ofce or a branch ofce in the
territory of one of the Contracting Parties.
None of the Co-producers shall be linked
by common management, ownership or
control.
3. Technical and artistic personnel are those
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
a. As regards the Republic of India , they

shall be
(i)
Nationals/Citizens of the Republic

of India or
(i)
Permanent residents of India
b. As regards the Federal Republic of

Germany, they shall be
(i)
Germans within the meaning of

the Basic Law
(ii) Persons who are rooted in the

German culture and have their
legal residence in the territory of
the Federal Republic of Germany;
202
05-05-2015 17:41:38
(iii) Nationals of a member state of
the European Union; or
(iv) Nationals of another party to
the Agreement on the European
Economic Area (EEA) of 2 May
1992.
2. Participants in the Co-Production as
dened 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.
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
enter Co-produced lms in international
festivals.
3. Should the lm so require, the participation

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
2. Films produced on the basis of equal

contributions shall be entered as a 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 lm shall be
submitted as a 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 6
ARTICLE 8
Film Negatives and Languages

1. Two negatives, or at least one negative and
Co-produced lms. Each Co-producer shall
themselves.
Minority and majority contribution in the case

of multilateral Co-Productions
Subject to the specic 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 lm.
2. The original soundtrack of each CoProduction 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.
Contributions of the producers

1. Notwithstanding the provisions of this
Agreement and in the interest of bilateral
Co-Productions, even those lms, which
are produced in one of the two countries
and where the minority contribution is
limited to 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
nal total cost of the lm.

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
Cannes Film Market
ARTICLE 9
203
05-05-2015 17:41:40
1. The granting of Co-Production status to
each individual production of this kind
shall be subject to the prior approval by
the competent authorities.
and operation of this Agreement and to

make any proposals considered necessary
to improve the implementation of the
Agreement.
2. The expenses incurred in the territories of

the Contracting Parties for the promotion of
such Co-Productions shall be compensated
within two years of the completion of the
project.

request of either of the Contracting Parties
within six months of such a request.
ARTICLE 10
Temporary Entry into the country

For approved Co-Productions, each Contracting
Party shall facilitate, in accordance with the
domestic law in force in its country:
personnel of the other Contracting Party;
Balanced contribution
1. A general balance should be maintained
with regard to both the artistic and
technical personnel, including the cast,
and with regard to the nancial investment
and facilities (studios, laboratories, and
postproduction).
2. The Joint Commission, established in
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 lm and the promotional
materials associated with it shall include
either a credit title indicating that the lm is
an ofcial German-Indian Co-Production
or an ofcial Indian German Co-Production
or where relevant a credit which reects
the participation of the Federal Republic of
Germany, Republic of India and the country of
the third co producer.
ARTICLE 12
Joint Commission
1. The Joint Commission shall be composed
of representatives from Government
and from the lm, television and video
industries of both Contracting Parties.
2. The role of the Joint Commission shall be
to supervise and review the implementation
ARTICLE 13
b. The import into and export from

Party.
ARTICLE 14
Amendment
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.
ARTICLE 15
Settlement of Disputes
negotiation.
ARTICLE 16
Entry into Force, Duration and Termination
1. This Agreement shall enter into force on
the date of signature.
2. This Agreement including the annex, which
forms an integral part of this agreement,
shall remain in force for an unlimited
period of time, unless terminated in terms
of paragraph.
204
05-05-2015 17:41:42
this Agreement by giving six months
diplomatic channel.
4. Termination of this Agreement shall have no
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)
1. Applications for qualication of a lm
for Co-Production benets under this
Agreement for any Co-Production must be
made simultaneously to both competent
authorities at least thirty (30) days before
shooting begins.
2. The competent authority of both Parties
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.
items, drafted in German in the case of
Germany and in English in the case of
India :
3.1 The nal script and synopsis; CoProductions 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
exploit the Co-Production and that the
Cannes Film Market
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
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
lm from the author/legal heirs may
be attached;
c. The name of the director (a substitution
clause is permitted to provide for his/
her replacement if necessary);
d. The budget;
e. The nancing plan;
f.
A clause establishing the sharing

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-producers share in
any over expenditure may be limited
to a lower percentage or to a xed
amount providing that the minimum
proportion permitted under Article 9 of
the Agreement is respected;
h. A clause stating that the competent
agreed in
i.
A clause stating that lms Coproduced under this Agreement may

be publicly exhibited in either country
in accordance with prescribed rules/
procedures;
205
05-05-2015 17:41:44
j.
A clause recognizing that admission

to benets under this Agreement does
not constitute a commitment that
governmental authorities in either
public exhibition of the Co-Production;
3.5 a list of the creative and technical

personnel indicating their nationalities
and, in the case of performers, the
3.6 the production schedule;
3.7 the detailed budget identifying the
country; and
k. A clause prescribing the measures to

be taken where:
l.
After full consideration of the case, the

competent authorities in either country
refuse to grant the benets applied
for;
m. The competent authorities prohibit

the exhibition of the Co-Production in
either country or its export to a third
country;
n. Either one or the other Party fails to
fulll its commitments;
o. The period when shooting is to begin;
p. 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
q. 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.
3.4 the distribution contract, where it has
already been signed, or a draft if it has
yet to be concluded;
3.8 all contracts and other relevant

nancial documentation for all
participants in the nancial structure.
4. The competent authorities can demand any
further documents and all other additional
information deemed necessary.
5. In principle, the nal shooting script
(including the dialogue) should be
submitted to the competent authorities
prior to the commencement of shooting.
approval by the competent authorities
before the Co-Production is 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
decisions.
206
05-05-2015 17:41:45
ITALY
AUDIO VISUAL CO-PRODUCTION AGREEMENT BETWEEN
THE REPUBLIC OF INDIA AND THE GOVERNMENT OF THE
ITALIAN REPUBLIC.
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 lm
television and video Co-Productions;
CONSCIOUS that quality Co-Productions can
contribute to the further expansion of the lm,
television and video production and distribution
industries of both countries as well as to the
development of their cultural and economic
exchanges;
between the two countries;
ARTICLE 1
In this Agreement, unless the Agreement
otherwise requires:
(i) A Co-Production is a lm including
feature lms, documentaries,
science lms, animation lms
and commercials, irrespective of
length, either on lm, videotape
Cannes Film Market
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.
(ii) Co-Production
projects
undertaken under the present
Agreement must be recognized by
the following authorities, referred
to hereinafter as the competent
authorities:
a. In Italy- by the Ministry of Cultural
Properties and Activities, Department
of Entertainment and Sport, General
Management of Cinema; and
b. In India by the Ministry of Information
and Broadcasting.
207
05-05-2015 17:41:47
(iii) Co production produced under
the terms of this Agreement
shall be taken in either of the two
countries as National Production
with every benet available as
National Production but will abide
by applicable national law for
distribution and production. These
benets, however, accrue to the
producer from the country, which
grants them.
ARTICLE 2
(i) The co- producers in either
of the two countries shall
satisfy themselves about each
others
capability,
including
their professional knowledge,
organizational capability, nancial
backing
and
professional
reputation.
(ii) The Government of India and Italy
shall in no way be responsible or
liable with regard to satisfaction
of either of the co producers.
of the obligations created by

European Union Italy as a
member.
(ii) In the event of dire need of CoProduction, 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
(i)
(ii) Location
shooting,
exterior
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.
ARTICLE 3
(i) Any benets under this Agreement
shall be available for co production
only when investment of 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 specic percentage
contribution will be decided amongst
producers themselves.
(ii) Notwithstanding anything stated
in above paragraph, the two parties
may at any time decide jointly
in writing to make appropriate
changes, in percentage, as maybe
deemed t.
(iii) The laboratory work shall be done

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
ARTICLE 4
(i)
The producers of a Co-Production

shall be citizens or permanent
resident either of Italy or India
subject to any sort of compliance
Live action shooting and animation

works such as storyboards, layout,
key animation, in between and
voice recording must, in principle,
be carried out alternatively in Italy
or in India.
(i)
The Co-Production shall have the

original soundtracks in English or
Italian or in other Indian language
or dialect, which can further be
dubbed in any of these languages.
(ii) In the event, if script so desires,

any other language can be used for
stray dialogues with permission
from authorities
208
05-05-2015 17:41:50
(iii) It will be necessary that the
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.
proportional to their respective

contributions and be species
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
(i)
ARTICLE 7
(i)
A Co-produced lm shall have

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.
(ii) Failure to meet this requirement

shall entail the loss of benet of the
Co-Production. This requirement
will invariably be reected in the
contract drawn up between the
Co-producers to enable projects
to be recognized under this
Agreement.
ARTICLE 11
(i)
ARTICLE 8
(i)
Both Italy and India will facilitate

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.
The sharing of revenues by he
co-produces shall, in principle, be
Cannes Film Market
Approval of a proposal for the

Co-Production of a 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 lm thus
produced.
ARTICLE 12
ARTICLE 9
(i)
The minority investment Coproducer 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
lm in the language of the minority
country. The majority investment
Co-producer will have the same
obligations towards the minority
investment Co-producer.
(i)
When a Co-produced lm is
exported to a country, which has
quota limitations:
a. in principle, the Co-produced lm shall

be included in the quota of the country
of the majority investment;
209
05-05-2015 17:41:52
(ii) Prizes, grants, incentives and
other benets 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.
b. if both Co-producers have made an

equal investment, Co-producers of
both sides shall decided the quota in
question through mutual consultation,
so that the Co-produced lm can be
included in the quota of the country
that can make better arrangements for
the export of the lm;
c. if difculties still exist, the co produced
lm shall be included in the quota of the
country of which the director is a national
(ii) Notwithstanding the above, in the
event that one of the Co-producing
countries enjoys unrestricted
entry of its lms into a country
that has quota regulations, a
Co-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.
(iii) All prizes which are not in cash

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
(i)
ARTICLE 13
(i)
A Co-Production shall when shown,

be identied as an Italy-India
Co- Production; or India-Italy CoProduction according to the origin
of the majority Co-producer or in
accordance with an agreement
between Co-producers.
ARTICLE 16
(ii) Such identication shall appear

in the credits, in all commercial
advertising
and
promotional
material and whenever the CoProduction is shown.
ARTICLE 14
(i)
In the event of presentation at

international 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 nancial
participation of the Co-producers,
by the country of which the
The competent authorities of both

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.
(i)
No restrictions shall be placed

on the import, distribution and
exhibition of Indian lm, television
and video productions in Italy
or that of Italian 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.
210
05-05-2015 17:41:54
ARTICLE 17
(i)
Any
difference
or
dispute
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.
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
(ii) The rights arising out of this

Agreement will not be enforceable
at the instance of third party (ies)
who are not signatory to this
Agreement.
(iii) An appropriate Joint Commission
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 lm television and
video industries in one country or
the other, or where the application
of this Agreement present various
difculties and shall submit to the
Authorities in the two countries,
for consideration, the necessary
amendments in order to resolve
any difculties arising from the
application of this agreement as
(i)
The present Agreement shall

come into force when each
Party has informed the other
that its international ratication
procedures have been completed.
(ii) It shall be valid for a period of

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.
(iii) Co-Productions which have been
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 benet 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.
(iv) DONE in three originals at Rome,
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
In Witness Whereof, the undersigned, duly authorized thereto by their respective Governments,
have signed this Agreement.
For the Government of the

Republic of INDIA
Cannes Film Market

ITALIAN Republic
211
05-05-2015 17:41:56
NEW ZEALAND
AGREEMENT ON AUDIO-VISUAL CO-PRODUCTIONS BETWEEN
THE GOVERNMENT OF NEW ZEALAND AND THE GOVERNMENT
OF THE REPUBLIC OF INDIA.
Th
The G
Governmentt off th
the R
Republic
bli off I
India
di and
d
the Government of New Zealand (the parties)
SEEKING to enhance cooperation between
their two countries in the area of lm;
DESIROUS of expanding and facilitating the
Co-Production of lms which may be conducive
to the lm industries of both countries and to
the development of their cultural and economic
exchanges;
between the two countries;
HAVE AGREED as follows:
ARTICLE 1
Denitions
For the purposes of this Agreement
1. Competent authorities shall be:
a. on behalf of the Republic of India, the
Ministry of Information and; and
b. On behalf of the Government of New
Zealand - to be indicated 2. Co-producer shall be:
a. as regards the Republic of India:
(i)
nationals/citizens
off the
ti
l / iti
th Republic
R
bli
of India;
(ii) permanent residents of India; and

(iii) entities which are established and/
or incorporated in India.
b. as regards the New Zealand - to be
indicated 3. Film means an aggregate of images, or
of images and sounds, embodied in any
material, 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 authorities
1. The competent authorities responsible
shall be as dened in Article 1.
212
05-05-2015 17:41:57
2. Co-Productions falling within the scope
of this Agreement shall be subject to the
approval of the competent authorities.
3. The Contracting Parties shall inform each
other if the competent authorities are
replaced by others.
ARTICLE 3
Recognition as a National lm and Entitlement
to Benets
Views to be indicated later.
ARTICLE 4
Conditions for obtaining approval of CoProduction status
1. Co-Production lms shall require, prior to
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.
2. In considering proposals for the making of
a Co-Production 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.
control.
individually.
5. As a rule, the contribution includes at least
one leading actor, one supporting actor
and/or one qualied technical staff person,
in addition to the one person as referred to
in paragraph (4) provided that two qualied
Cannes Film Market
technical staff persons may substitute for

one leading actor.
6. The Co-producers in either of the two
capability,
nancial
backing
and
professional reputation. The Contracting
Parties are not responsible or liable for the
7. The company carrying out the CoProduction shall provide evidence that
the primary business of that company
is audiovisual (lm, television and video)
production.
8. The sharing of expenses and revenues
shall be as mutually decided by the Co
Producers.
ARTICLE 5
Contributions
1. Any benets under this Agreement shall
be available for the Co-Production only
when investment of nance, material and
management including creative and other
inputs is not below 20 % (twenty percent)
of the total cost coming from the Coproducer 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).
2. Subject to prior approval and in exceptional
cases both Competent Authorities may
approve
Audiovisual
Co-Productions
where:
a. the contribution by one Co-producer is
limited to the provision of nance only,
in which case the proposed nanceonly contribution shall be 50% (Fifty
per cent) or more of the total budget of
the Audiovisual Co-Production; or
b. Despite falling outside the contribution
rules, the Competent Authorities
consider that the project would further
the objectives of this Agreement and
should be approved accordingly.
213
05-05-2015 17:42:01
3. Both the nancial contribution, and the
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 CoProduction lm.
ARTICLE 6
Minority and majority contribution in the case
of multilateral Co-Productions
1. Subject to the specic conditions and limits
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 lm.
2. Both Competent Authorities shall also
look favourably upon co production to be
undertaken with any other country linked
with India and New Zealand by an ofcial
co production agreement.
ARTICLE 7
Participants
1. The persons participating in the production
of a lm shall fulll the following
requirements:
a. As regards the Republic of India, they
shall be (i)
Nationals/Citizens of the Republic

of India or
(ii) Permanent residents of India;

b.
As regards the New Zealand - to be

indicated
Participants in the Co-Production as dened 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.
2. Subject to the approval of the competent
authorities:
a. where script or costs dictates,
restricted numbers of performers from
other countries may be engaged;
b. in exceptional circumstances, restricted

numbers of technical personnel from
other countries may be engaged
ARTICLE 8
Film Processing, Laboratory work, Negatives
and Languages etc.
1. The processing of lm including the
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.
2. At least 90% (ninety per cent) of the
footage included in a Co-Production lm
shall be specially shot or crated for the
lm unless otherwise approved by the
competent authorities
3. Two negatives, or at least one negative and
Co-produced lms. Each Co-producer shall
themselves.
4. The original soundtrack of each CoProduction 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.
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.
6. Post-release print dubbed into any other
language may be carried out in third
countries
214
05-05-2015 17:42:02
7. The soundtrack may contain sections of
dialogue in any language in so far as is
required by the script.
for its export, if the respective contributions

of the Co-producers are equal;
c. of which the director is a national, if any
difculties arise with the application of
sub-paragraphs (a) and (b) hereof.
ARTICLE 9
Location Shooting
1. Live action shooting and animation works
such as storyboards, layout, key animation,
in between and voice recording must, in
principle, be carried out either in India or
in New Zealand.
2. The Competent Authorities may approve
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.
3. Notwithstanding Article 7, where location
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 Festivals
enter Co-produced lms in international
festivals.
2. Films produced on the basis of equal
contributions shall be entered as a lm
of the country of which the director is a
national, and if this is not possible then
the lm shall be submitted as a lm of
the country of which the lead actor is a
national, subject to the agreement of the
competent authorities of both Contracting
Parties.
2. Not withstanding Paragraph 1, in the event

that one of the Co-producing countries
enjoys unrestricted entry of its 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 abovementioned Co-producing country to
unrestricted entry into the importing
country if that above-mentioned Coproducing country so agrees.
ARTICLE 12
Acknowledgements, Credits
A Co-Production lm and the promotional
material associated with it shall include either
a credit title indicating that the lm is an
Ofcial Indian-New Zealand Co-Production
or an Ofcial New Zealand Indian CoProduction or , where relevant, a credit which
reects the participation of the Republic of
India, New Zealand and the country of a third
Co-producer.
ARTICLE 13
Temporary Entry into the country
personnel of the other Contracting
Party;
b. the import into and export from
Party.
ARTICLE 11
Export of Co produced Film
1. Where a Co-Production is exported to a
country that has quota regulations, it shall
be included in the quota of the Party:
a. which is the majority Co-producer;
b. that has the best opportunity of arranging
Cannes Film Market
ARTICLE 14
Permission for Public Exhibition
1. Permission for public exhibition will be in
accordance with local laws in both India
and New Zealand.
215
05-05-2015 17:42:04
2. The approval of Co-Production status
under this Agreement will not mean a
commitment to permit public exhibition of
the Audiovisual Co-Production.
3. Modications to the Annex shall be

conrmed by the competent authorities
in writing and shall take effect on the date
they specify.
ARTICLE 15
ARTICLE 18
Balanced contribution
1. A general balance should be maintained
with regard to both the artistic and
technical personnel, including the cast,
and with regard to the nancial investment
and facilities (studios, laboratories, and
postproduction).
Entry into Force

Each 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.
2. The Joint Commission, established in terms

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 Commission
1. The Joint Commission shall be composed
of representatives from the Competent
Authorities and from the audio-visual
industry of both the contracting parties.
2. The role of the Joint Commission shall be
to supervise and review the operation of
this Agreement and to make any proposals
considered necessary to improve the effect
of the Agreement.
request of either of the Parties within six
months of such a request.
ARTICLE 17
Status of Annex
1. The Annex to this agreement constitutes
an implementing arrangement in respect
of this Agreement and shall be read in
conjunction with the provisions of this
Agreement
2. Subject to paragraph 2 of Article 18, any
modications to the Annex shall be agreed
by both the competent authorities. No
modications to the Annex shall conict
with the provisions of this Agreement.
ARTICLE 19
Amendment
1. Subject to paragraph 2 of this Article, this
Agreement may be amended by written
agreement between the two parties
through an exchange of diplomatic notes.
Amendments shall take effect on the date
specied in the notes.
2. Either Party may by diplomatic note notify
the other of a change in its competent
authority. The change shall take effect on
the date specied in the note.
ARTICLE 20
Settlement of Disputes
negotiation.
ARTICLE 21
Duration and Termination
1. The term of this Agreement shall be for a
period of three years from the date it enters
into force and thereafter automatically
renewed for further periods of three years.
diplomatic channel.
3. Termination of this Agreement shall
have no effect on the comple-tion of
Co-Productions approved prior to its
termination.
216
05-05-2015 17:42:06
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.

Republic of INDIA

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)
1. Applications for qualication of a lm
for Co-Production benets under this
Agreement for any Co-Production must be
made simultaneously to both competent
authorities at least thirty (30) days before
shooting begins.
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 a. the title of the Co-Production;
2. The competent authority of both Parties

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.
items, drafted in _________in the case
of _______ and in English in the case of
India:
3.1 The nal script and synopsis; CoProductions 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
exploit the Co-Production and that the
Cannes Film Market
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
lm from the author/legal heirs may
be attached;
c. the name of the director (a substitution
clause is permitted to provide for his/
her replacement if necessary);
d. the budget;
e. the nancing plan;
f.
a clause establishing the sharing

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-producers share in any
over expenditure may be limited to a
lower percentage or to a xed amount
providing that the minimum proportion
permitted under Article 9 of the
Agreement is respected;
h. a clause stating that the competent
217
05-05-2015 17:42:08
agreed in Article 9;
i.
a clause stating that 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

benets under this Agreement does
not constitute a commitment that
governmental authorities in either
public exhibition of the 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
benets applied for;
(ii) the competent authorities prohibit
the exhibition of the Co-Production
in either country or its export to a
third country;
(iii) either one or the other Party fails
to fulll its commitments;
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.
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
3.6 the production schedule;
3.7 the detailed budget identifying the
country; and
3.8 all contracts and other relevant
nancial documentation for all
participants in the nancial structure.
4. The competent authorities can demand any
5. In principle, the nal shooting script
(including the dialogue) should be
submitted to the competent authorities
prior to the commencement of shooting.
before the Co-Production is 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
decisions.
218
05-05-2015 17:42:09
POLAND
OF POLAND AND THE GOVERNMENT OF THE REPUBLIC OF
INDIA ON AUDIOVISUAL CO-PRODUCTION.
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
lms for the cinema and television, as well
as 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 lms and enhance cultural and
economic exchange between both States;
CONVINCED that such exchange shall
strengthen relations between both States;
nanced and produced by Co-producers

from Poland and India; recorded on 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 lm.
2. Each Co-Production undertaken under this
Agreement, after it has fullled all the
conditions herein, must gain approval from
the following Competent Authorities:
ARTICLE 1
1. For the purpose of this Agreement, the
term Co-Production shall mean a feature
lm intended for screening in the cinema
as the primary eld of exploitation, as
well as a documentary, educational and
animated lm, regardless of length, jointly
Cannes Film Market
(i)
In the Republic of Poland the

Minister of Culture and National
Heritage,
(ii) In the Republic of India the

Ministry of Information, Radio and
Television.
(iii) Each Co-Production undertaken
under this Agreement shall be
realized and disseminated in
accordance with the law in force
in Poland and in India.
219
05-05-2015 17:42:11
(iv) Unless otherwise provided for
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 benets conferred upon
domestic productions in these
two States. Nevertheless, such
benets shall be due only to Coproducers from the country which
confers these benets.
ARTICLE 2
Each Co-producer must possess broad
professional experience, good technical
organization,
considerable
organization
abilities, strong nancial support and a good
reputation. These qualities shall be veried 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 verication.
ARTICLE 3
1. The contribution of Co-producers from
each State should range from twenty
percent (20%) to eighty percent (80%) of
the budget of each Co-Production.
2. The Co-producers from each State
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
lmmakers, actors, technical-production
personnel, laboratories and facilities. In
justied 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 justied cases,
the Competent Authorities may approve a CoProduction which does not satisfy all of these
requirements.
ARTICLE 5
1. The Competent Authorities may approve a
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).
2. The minimum contribution by a Coproducer in a multilateral Co-Production
should be ten percent (10%) of the CoProductions budget. Article 3 para 2 of this
Agreement shall apply as appropriate.
ARTICLE 6
1.
Filming and animation work, including

the storyboard, layour, key animation and
in between as well as sound recording,
should be carried out in Poland or India.
2. The lming of scenes in the open air

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.
3. Laboratory processing shall be carried
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
1. The original soundtrack of each CoProduction 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 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.
2. Each language version of each CoProduction (dubbing or subtitles) shall
220
05-05-2015 17:42:14
be produced in Poland and in India, as
appropriate. Any departures from this
rule must be approved by the Competent
Authorities.
ARTICLE 8
1. Each Co-Production shall be made in at least
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.
2. The original negatives, as well as the nal
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.
3. At least two backup copies of medium
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
ARTICLE 9
In accordance with the laws in force in their
States, the Parties shall:
1. Permit producers, copywriters, directors,
technicians, actors and other personnel
specied in each Co-Production agreement
to enter and briey stay in their country,
2. Permit the lm equipment and tapes
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.
Cannes Film Market
ARTICLE 11
No provision of this Agreement shall imply that
the approval of Co-Production or the granting
of any associated benets by the Competent
Authorities signies 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 CoProduction justied or bear any responsibility
for it.
ARTICLE 12
1. If a Co-Production is exported to a third
country which applies a maximum quota of
such imports, the Co-Production shall be
included in the quota of the majority Coproducing State.
2. If there is no majority Co-producing State,
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 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.
3. If one of the State-Parties enjoys an
unlimited right to export its lms to a third
country which applies a maximum quota of
such imports, the Co-Production, like any
other domestic production of the StateParty, shall be the subject of unlimited
exports to that third country, with the
approval of that countrys Competent
Authorities.
ARTICLE 13
1. Each
Co-Production
destined
for
presentation shall be endorsed with the
caption A Polish Indian Co-Production
or An Indian-Polish Co-Production,
depending on the majority Co-producers
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.
221
05-05-2015 17:42:16
2. The caption referred to in para 1 shall be
accommodated in the opening credits
and in all advertising and promotional
materials, especially whenever such a CoProduction is presented.
ARTICLE 14
1. Unless otherwise agreed upon by the
Co-producers, if a Co-Production is to be
presented at an international lm festival,
it shall be submitted by the majority Coproducers country or, in the absence
thereof, by the country of which the lm
director is a citizen.
2. Prizes, grants and other distinctions
granted for the Co-Production shall be
divided between the Co-producers in
accordance with the terms of the CoProduction agreement and the laws in
force in both States.
3. All non-pecuniary awards granted for the
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
specied 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 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
1. The Parties and Competent Authorities
shall resolve any disputes during the
realization of this Agreement by means of

negotiations.
2. For the purpose of a further expansion of
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.
3. To facilitate the application of this
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 signicant changes to the legislation of
any of the States-Parties which could affect
the implementation of this Agreement, or
in the event of major difculties with its
implementation.
ARTICLE 16
1. This Agreement is subject to acceptance
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.
2. This Agreement is concluded for an
indenite period. Either Party may
terminate it with six months notice,
conveyed to the other Party in writing.
3. Any Co-Productions approved by the
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.
222
05-05-2015 17:42:18
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.

Republic of POLAND

Republic of INDIA
APPENDIX
c. The name of the director,
PROCEDUTES
General Provisions
Applications for any benets under this
Agreement in aid of any Co-Production
must be submitted simultaneously to the
Competent Authorities at least sixty (60)
days before 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 rst State and to the Coproducer 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:
1. Final version of the screenplay,
d. A synopsis,
2. Evidence of the lawful acquisition of

the copyright necessary to a given CoProduction,
e. A budget plan,
f.
g.
h.
i.
j.
k.
l.
m.
3. A signed copy of a Co-Production agreement

concluded between Co-producers, which
should contain:
a. The title of the Co-Production,
b. The name of the author of the
screenplay or of the person who
adapted the screenplay, if it is based on
literary sources,
Cannes Film Market
n.
A nancial plan, stating the nancial

input of the Co-producers,
A clause dening the division of
revenues and markets,
A clause setting forth a share in the
copyright in proportion to the input of
individual Co-producers,
A clause describing what to do if the
budget is exceeded,
A clause describing the measures to
be taken (if one of the Parties does not
discharge its obligations,
A clause setting forth the rules
governing nancial settlements if
any Co-producer fails to provide the
nancial contribution agreed upon in
the Co-Production agreement,
A clause conrming that the acceptance
of a Co-Production does not imply any
production will be distributed in the
States-Parties,
A clause obligating the majority Coproducer 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
lming
commences.
223
05-05-2015 17:42:20
4. The distribution agreement, if such an
agreement has already been concluded,
5. A list of the lmmakers, actors and
technicians, indicating their nationality
and, in the case of actors, the names of
their characters,
6. A production schedule,
7. A detailed budget, showing the expenditures
to be incurred by the Co-producers in each
country.
IMPORTANT PROVISIONS FOR INDIA
In addition, an application addressed to the
Indian Ministry of Information, Radio and
Television (MIRT) should be accompanied
by four copies of the screenplay and lm
synopsis, together with a payment mandate
for USD 200 payable to the MIRT Department
of Payments and Settlements.
If the 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:
1. Details of any non-Indian members of
the lm crew: names, passport numbers
and expiry dates, country which issued
the passport, nationality, permanent and
temporary address.
2. An accurate description of the shooting
locations and the lm crews travel plans.
3. A description of the cinematographic
equipment and quantity of 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 lming permit to all Co-producers
and the Competent Authorities in the other
State. A longer period for issuing the lming
permit may be required if lming is to take
place in Jammu and Kashmir, north-eastern
States and some border zones.
Permission to lm in India may be dependent
upon the following conditions:
1. Permission from a person or his legal heir

who is to be portrayed in the lm; a copy of
the permission should be attached to the
screenplay,
2. If it is necessary to obtain assistance
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,
3. Each lm for whose production the
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.
4. In particular cases, a lm may have to
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 ofcer may be assigned
to a lm crew at the expense of the
Government of India.
CONCLUDING PROVISIONS
The 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 nal screenplay (with script) should be
presented to the Competent Authorities prior
to the start of lming.
Amendments, including a change of Coproducer, 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.
224
05-05-2015 17:42:21
SPAIN
AGREEMENT OF AUDIOVISUAL CO-PRODUCTION
BETWEEN THE REPUBLIC OF INDIA AND THE
KINGDOM OF SPAIN.
The Republic of India and The Kingdom of

Spain (hereinafter, The Parties)
Seeking to improve cooperation between the
two countries in the audiovisual eld: aware
of the contribution which Co-Production can
make to the development of the audiovisual
industry.
Desirous of promoting and facilitating the CoProduction of 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:
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.
2. The Competent Authorities responsible
shall be :
ARTICLE 1
In this Agreement, unless the Agreement
otherwise requires:
1. A Co-Production is a lm including
feature lm, documentary, and animation
lm irrespective of length, on any format
to be shown in the rst place in cinemas,
jointly invested in and produced by Coproducers made in accordance with
Cannes Film Market
a. On behalf of the Republic of India,

by the Ministry of Information and
Broadcasting.
b. On behalf of the Kingdom of Spain, by
the Instituto de la Cinematograa y de
las Artes Audiovisuales (Institute of
Cinematography and Audiovisual Arts)
and when applicable, the competent
authorities of the Autonomous
communities where applicable.
c. Co-Productions falling within the scope
of this Agreement shall be subject
to the approval of the competent
authority.
225
05-05-2015 17:42:23
d. The Contracting parties shall inform
each other if the competent authorities
are replaced by others.
3. Subject to the approval of both competent
authorities, a lm Co-produced in
compliance with this Agreement shall
be deemed to be a national lm in the
territory of each Party and shall thus be
fully entitled to all the benets which are
granted under the laws and regulations in
force in the territory of each Party.
ARTICLE 2
1. The Co-producer in either of the two
capability,
nancial
backing
and
professional reputation.
2. The Contracting Parties shall in no way
be responsible or liable with regard to
ARTICLE 3
1. Before shooting starts, Co-Production
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 notied in writing and must specify the
conditions according to which the approval
is granted.
control.
3. Co-Productions falling within the scope
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
1. On a general basis, in Co-Productions there
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 nancial
contribution made by each Co-producer.
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).
3. Both the nancial contribution and the
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 lms.
4. As an exception to the contribution
rules stated in paragraph 1 & 2 of this
Article, both Competent Authorities
shall be able to grant approval to the CoProduction projects known as nancial
Co-Productions in which the contribution
of one of the Co-producers is limited to
only nancing, in which case nancial
contribution shall be no greater than 25%
(twenty ve percent) nor less than 10%
(ten percent) of the total cost of the lm.
ARTICLE 5
1. When India or Spain maintains an audiovisual 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
226
05-05-2015 17:42:26
a Co-producer from a third party, whose
contribution may be no greater than 30%.
2. In the event of multilateral Co-Productions,
the lesser participation may be not lower than
10 percent and the greatest one not higher
than 70 percent of the cost of the lm.
ARTICLE 6
1. The producers of a Co-Production shall be
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.
2. Participants in the Co-Production as
dened 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.
3. Should the lm so require, the participation
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
3. The processing and post-production of CoProductions 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
1. The Co-Production shall have the original
soundtracks either in Hindi, or in other
Indian language or dialect, or in Spanish
or in any other ofcial languages in Spain,
or English language or in any combination
of those permitted languages, which
can further be dubbed in any of these
languages.
2. In the event, if script so desires, any
other language can be used for stray
dialogues with permission from competent
authorities.
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.
3. It will be necessary that the dubbing or

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
ofcial languages in Spain should be
performed in Spain, and dubbing or subtitling in English could be performed
in India or Spain depending upon the
agreement between Co-producers.
ARTICLE 8
ARTICLE 10
1. Live action shooting and animation works

such as storyboards, layout, key animation,
in between and voice recording must, in
principle, be carried out either in India or in
Spain.
1. The Co-Production lm and the promotional

material associated with it shall include
certain credit titles stating that the lm
is a Co-Production between India and
Spain or a Co-Production between Spain
and India or, when appropriate credit titles
reecting the participation of India, Spain
and the country of a third Co-producer.
ARTICLE 7
2. Location shooting of a Co-produced

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.
Cannes Film Market
2. Prizes, grants, incentives and other

benets awarded to the Co-produced
work may be shared between the Coproducers, in accordance with what has
been established in the Co-Production
227
05-05-2015 17:42:28
b. the import into and export from
Party.
contract and in conformity with applicable

laws in force.
3. All prizes which are not in cash form,
such as honorable distinctions or trophies
awarded by third countries, for Coproduced work produced according to
the norms established by this agreement,
shall be kept in trust by the majority Coproducer or according to terms established
in the Co-Production contract/ agreement.
ARTICLE 11
1. When a Co-produced lm is exported to a
country, which has quota limitations:
a. In principle, the Co-produced lm shall
be included in the quota of the country
of the majority investment;
b. If both Co-producers have made an
equal investment, Co-producers of
both sides shall decide the quota in
question through mutual consultation,
so that the Co-produced lm can be
included in the quota of the country
that can make better arrangements for
the export of the lm;
c. If difculties still exists, the Coproduced lm shall be included in
the quota of the country of which the
2.
Notwithstanding paragraph 1, in the

event that one of the Co-producing countries
enjoys unrestricted entry of its 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 abovementioned Co-producing country so agrees.
ARTICLE 12
personnel 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
1. There shall exist a Joint Commission
composed of representatives of the Parties,
including the competent authorities and
representatives of the industry.
2. The role of the Joint Commission shall
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.
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 ofcial diplomatic channels that its
internal ratication 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 specied in the note.
228
05-05-2015 17:42:30
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
1. This Agreement including the Annex, which
forms an integral part of this agreement,
shall remain in force unless terminated in
terms of paragraph (2).

diplomatic channel.
3. Notwithstanding the provisions of
paragraph 1 of this Clause, this Agreement
shall continue in force with regard to any
Co-Production 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 SPAIN
For the Republic of INDIA
Cannes Film Market
229
05-05-2015 17:42:31
UNITED KINGDOM
FILM CO-PRODUCTION AGREEMENT BETWEEN THE
GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN
AND NORTHERN IRELAND AND THE GOVERNMENT OF THE
REPUBLIC OF INDIA.
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 lm
industries of each country to work together
on account of shared or complementary
characteristics that include the structure of
each lm industry, the lm culture of each
country and the extent of the availability in
each country of lmmaking facilities, a suitably
skilled workforce and locations for 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 lm industries and
the enhancement of their lm cultures;
Noting the benets available in each country
to lms with national lm status;
Desiring to encourage the making of lms that
reect, enhance and convey the diversity of
culture and heritage in both countries;
Acknowledging the benets that would ow
from the making of such lms and their

increased public availability; and
Noting on the basis of mutual cooperation, the
Agreement is intended to produce benets for
both parties.
ARTICLE 1
Denitions
1. In this Agreement:
Approved Co-Production means a Coproduced lm which has Approved CoProduction status in accordance with
Article 2;
Co-producer means any individual,
partnership,
body
corporate
or
unincorporated association who is a Coproducer of a 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-
230
05-05-2015 17:42:33
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.
2. References to lmmaking contribution
beneting 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 lmmaking facilities or lming locations
in that country.
3. Subject to Article 2(2) the Annex forms an
integral part of this Agreement. Any reference
to this Agreement includes the Annex.
ARTICLE 2
Approved Co-Production status
1. The Competent Authorities may grant
approved Co-Production status to a lm
which provides appropriate lmmaking
and cultural benets to the UK and India;
and meets the requirements set out in this
Agreement.
consider desirable.
3. The Annex shall also include rules of
procedures on:
a. the granting of approvals of an
application for Approved Co-Production
status;
b. the withdrawal of Approved CoProduction status;
c. any other matters that the Parties
consider desirable.
4. The Annex shall include provision as to the
criteria for measuring mutual benets.
5. The Annex shall enter into force as soon as
the Parties have notied each other of the
completion of their respective legal and
constitutional procedures.
6. In determining an application made to it,
a Competent Authority shall apply these
requirements in accordance with guidance
published by the Competent Authority
under this Article.
7. Each Competent Authority may from time
to time publish guidance consisting of
such information and advice as it considers
appropriate with respect to:
a. how applications are to be made to the
Competent Authority, and
b. the operation and interpretation of this
Agreement.
8. Such guidance shall, in particular, set out:
2. The Parties shall jointly arrive at, through a

subsequent exchange of notes, a mutually
agreed Annex to this Agreement. The
Annex shall include requirements as to:
a. how the Competent Authority proposes

to make decisions on applications for
the grant of Approved Co-Production
status, and
a. the appropriate lmmaking and

cultural benets to the UK and India;
b. factors it will take into account when

exercising any discretion conferred on
it by this Agreement.
b. the nature of Co-producers;

c. the minimum and maximum nancial
contributions of Co-producers;
d. lmmaking
producers;
contributions
of
Co-
9. Nothing in this Agreement binds the

relevant authorities in the UK or India to
permit the public exhibition of a lm, which
has been granted Approved Co-Production
status.
e. content, language, credits, locations

and personnel; and
f.
any other matters that the Parties
Cannes Film Market
231
05-05-2015 17:42:36
ARTICLE 3
Benets
1. This Article applies in relation to any lm
which has Approved Co-Production status
under this Agreement.
1. Each Party shall permit, in accordance
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.
2. Each Party shall permit any person
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 lm, subject to the requirement that
they comply with the legislation relating to
entry, residence and employment.
1. A lm shall be eligible for the grant of

Approved Co-Production status even
if production commenced before this
Agreement entered into force, but only if:
a. the rst day of principal photography
of the lm is no more than 18 months
before the date on which the Agreement
enters into force, and
b. production of the lm is completed after
the date on which the Agreement enters
into force.
2. An Approved Co-Production shall continue
to be eligible to receive any benets
available under this Agreement on or after
the date on which the Agreement ceases
to have effect, but only if:
a. before that date, the Competent
Authorities have given the lm requisite
approval for Approved Co-Production
status under Article 2.
3. Each Party shall treat a lm falling within

paragraph (1) of this Article as a national
lm for the purposes of any benets
afforded in that country to national lms.
b. its principal photography commenced

before the date on which the Agreement
ceases to have effect, and
c. production of the lm is completed
before the end of the period of twelve
months commencing with the date on
which the Agreement ceases to have
effect.
4. The question of which Party may claim

credit for an Approved Co-Production as
a national lm at an International Film
Festival shall be determined:
a.
by reference to whichever is the

greater of either:
(i)
the total nancial contributions

made by the UK Co-producer or
Co-producers (taken together), or
(ii) the total nancial contributions

made by the Indian Co-producer
or Co-producers (taken together);
or
b. if the respective total nancial
contributions are equal, by reference
to whichever of the UK or India the
director of the lm is most closely
associated with.
ARTICLE 4
Films in production before and after entry into
force
ARTICLE 5
Review and Amendment
1. The Parties shall keep the Agreement
under review and, where they consider it
appropriate to do so, may recommend that
changes be made.
2. The Parties shall report to the other
annually in writing on the current state of
the Agreement.
3. The Parties may, at any time through an
exchange of mutually agreed notes, make
amendments to the Agreement.
4. Any such amendment shall enter into force
as soon as the Parties have notied each
other of the completion of their respective
legal and constitutional procedures.
232
05-05-2015 17:42:38
ARTICLE 6
International obligations
1. The provisions of this Agreement are
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 notied 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 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
For the Government of the United the

Republic Kingdom of Great
BRITAIN and NORTHERN IRELAND
For the Government of INDIA
Cannes Film Market
233
05-05-2015 17:42:40
ANNEX
Rules for applications
for approval of Film Co-production Agreement
d)
the budget;
e)
the 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 coproducers share in any over
expenditure may be limited
to a lower percentage or
to a 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 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 benets under
this Agreement does not
constitute a commitment
that
governmental
authorities in either country
will grant a license to permit
public exhibition of the coproduction;
between
the Government of the Republic of India
and
the Government of United Kingdom of Great
Britain
and Northern Ireland
1.
Applications for qualication of a lm

for co-production benets under this
Agreement for any co-production must
be made to competent authority at least
thirty (30) days before shooting begins.
2.
Documentation submitted in support of an

items, drafted in English:
2.1
The nal script and synopsis;
2.2
Documentary proof of having legally

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 coproducers.
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 lm from the author/
legal heirs may be attached;
c)
the name of the director
k)
a clause prescribing the
measures to be taken where:
234
05-05-2015 17:42:42
(i)
(ii)
after full consideration

of the case, the
competent authorities
in either country refuse
to grant the benets
applied for;
the co-producers.
the
competent
authorities prohibit the
exhibition of the coproduction in either
country or its export to
a third country;
(iii) either one or the other

Party fails to fulll its
commitments;
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
Cannes Film Market
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

country; and
2.9
all contracts and other relevant

nancial
documentation
for
all participants in the nancial
structure.
3.
The competent authorities can demand

4.
The nal shooting script (including

the dialogue) should be submitted to
the competent authority prior to the
commencement of shooting.
5.
Amendments may be made in the original

before the co-production is nished.
235
05-05-2015 17:42:43
05-05-2015 17:42:45
KEY FILM
INDUSTRY
CONTACTS
A comprehensive list of associations,

producers, distributors and independent
across India
Cannes Film Market lmmakers 237
05-05-2015 17:42:46
Key Film Industry Contacts
PRODUCTION HOUSES
(SOUTH INDIAN FILM CHAMBER OF
COMMERCE)
TAMIL
A.V.M.PRODUCTIONS
ROJA COMBINES
B.R.R.ART ENTERTAINERS
A.V.M.SARAVANAN
M.KHAJA MOIDEEN
RADHA RAVI
044-42136700
94443-80111
98400-41877
K.R.INFOTAINMENT P.LTD
JEYAM COMPANY
A.KOTHANDARAMAIAH(K.R)
EDITOR MOHAN
SRI MISHRI
PRODUCTIONS
98410-8850
98402-76403
CHANDRA PRAKASH JAIN

98410-39141
SATHYA JYOTHI FILMS
MURALI CINE ARTS
T.G.THYAGARAJAN
H.MURALI
95000-19899
94440-87517
AMMA CREATIONS
LAKSHMI MOVIE MAKERS
T.SIVA
K.MURALIDHARAN
94445-34567
94440-87417
STUDIO GREEN
GNANAVEL RAJA
THIRRUPATHI BROS.FILM
MEDIA P.LTD
96000-77666
SUBASH CHANDRA BOSE
SURYA MOVIES
98840-49333
A.M.RATHNAM
ALAGAPPA ART
CREATIONS
SEVENTH CHANNEL
COMMUNICATIONS
MANICKAM NARAYANAN
98841-91434
SUPER GOOD FILMS
R.B.CHOWDHRY
98410-70204
99625-68605
AL.ALAGAPPAN
PYRAMID FILMS
INTERNATIONAL
WIDE ANGLE CREATIONS
98410-23495
V.NATARAJAN
SURESH BALAJI
98410-54545
99401-23451
CHITRA LAKSHMANAN
MOTHERLAND PICTURES
AASCAR FILMS P.LTD
94443-83744
KOVAI THAMBI
V.RAVICHANDRAN
98400-92700
98410-22246
GAYATHRI FILMS
238
05-05-2015 17:42:46

AGS ENTERTAINMENT
P.LTD
SRI THENANDAL FILMS

RAMA NARAYANAN
SHARANYA CINE
COMBINES
KALPATHI AGORAM
98410-38782
K.BHAGYARAJ
98410-34988
98400-71277
V.V.CREATIONS
B.STUDIOS
S.A.CHANDRASEKAR
V.CREATIONS
BALA
98849-12234
S.THANU
99445-53319
98840-19999
METRO FILMS P.LTD
CAPITAL FILM WORKS
JAYAKUMAR (METRO)_
S.P.CHARAN
96000-75589
99401-16660
CLOUD 9 MOVIES
RAAJKAMAL FILMS
INTERNATIONAL
DAYANIDHI ALAGIRI
KAMAL HAASAN
90031-86771
044-2433-4140
COMPANY PRODUCTIONS
SIVAJI PRODUCTIONS
M.SASIKUMAR
RAMKUMAR
99405-66667
044-2835-0127
G.K.FILM CORPORATION
MUKTHA FILMS
G.K.REDDY
MUKTHA V.SRINIVASAN
98409-80590
93802-44118
P.V.P.CINEMA
MOVIE MAGIC
POTLURI
MADHESH
93818-41146
98400-23111
R.K.PRODUCTIONS
KASTHOORI RAJA
KAVITHALAYA
PRODUCTIONS P.LTD
044-2815-1468
K.BALACHANDER
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
98412-27171
S.PICTURES
SHANKAR
044-2376-0643
Cannes Film Market
239
05-05-2015 17:42:46
TELUGU
SRI AMULYA ART
PRODUCTIONS
DASARI FILM
UNIVERSITY
SRI RAGHAVENDRA CINE

CHITRA
C.KALYAN
DASARI NARAYANA RAO
K.SATYANARAYANA
078939-55599
098681-81002
9444419354
DEVI KAMAL MOVIES
GEETHA ARTS
K.C.SEKAR BABU
ALLU ARAVIND
SAI GANESH
PRODUCTIONS P.LTD
9849635350
098497-34567
BELLAMKONDA SURESH
098490-05528
CREATIVE COMMERCIALS
K.S.RAMA RAO
SREE LAKSHMI
PRODUCTIONS
098490-99399
T.RAMA RAO
VARMA CORPORATION
LTD
94440-21521
RAM GOPAL VARMA

040-23541968
SRI KRISHNA PRASANNA

CREATIONS
PRASAD PRODUCTIONS
T.PRASANNA KUMAR
A.RAMESH PRASAD
USHAKIRON MOVIES
098490-33383
9849111176
RAMOJI RAO
08145-246408
SURESH PRODUCTIONS
RAMA FILMS
D.RAMA NAIDU
K.NAGESWARA RAO
9849022033
9866611225
240
05-05-2015 17:42:46
KANNADA
AJANTHA COMBINES
RAMU ENTERPRISES
ANJANADRI CINEMA
A.R.RAJU
RAMU
H.N.MARUTHI
099806-19726
080-2226-3430
080-22262277
K.C.N.MOVIES
ROCKLINE PRODUCTIONS
CHINNI FILMS
K.C.N.CHANDRASEKAR
ROCKLINE VENKATESH
JAYASREE DEV I
098455-44003
093412-32275
9448810228
POORNIMA ENTERPRISES
TANU CHITRA
PARVATHAMMA RAJKUMAR
SA.RA.GOVINDU
SHREE SHOUNDARYA
ARTS
080-23346716
9448051314
JAYAMALA
080-2341-3331
MALAYALAM
GRIHALAKSHMI
PRODUCTIONS
REVATHI KALAMANDHIR
CENTURY
G.SRUESH KUMAR
DR.P.V.GANGADHARAN
9447123299
M.C.PHILIP ALIAS
KOCHUMON
098473-40404
9444017808
KOKERS FILMS
SEVEN ARTS
INTERNATIONAL LTD
G.P.VIJAYAKUMAR
98840-25747
EVERSHINE
PRODUCTIONS
S.S.T.SUBRAMANIAM
A.A.SYED KOKER
SUNITHA PRODUCTIONS
098470-30040
AROMA MANI
094471-69996
ADOOR
GOPALAKRISHNAN
PRODNS.
SWARGA CHITRA
ADOOR GOPALAKRISHNAN
9846096669
P.D.APPACHAN
0471-2446567
098470-35281
GANESH PICUTRES
MADHU AMBAT
PRODUCTIONS
MUDRA ARTS
RAVIKOTTARAKARA
MADHU AMBAT
B.SASHIKUMAR
97908-33335
99401-66566
098470-56465
Cannes Film Market
241
05-05-2015 17:42:46
FILM & TV GUILD

MEMBERS
Name
Production House / Banner
Email Address
A.G Nadiadwala
M/s A.G. Vision LLP
aggroup@hotmail.com
Aamir Khan
M/s Aamir Khan Productions

Pvt. Ltd.
rao.b.shrinivas@gmail.com
Aashish Singh
M/s Yash Raj Films Pvt. Ltd.
aashish@yashrajlms.com,
Abhay Chopra
M/s B. R. Films
Abhay Chopra
M/s. B R Films Pvt. Ltd.
Abhay Chopra
M/s. B R TV
Abhinav Shukla
M/s Nautanki Films Pvt. Ltd.
abhinav@nautankilms.com
Ajay Bijli
M/s PVR Pictures Ltd.
ajay.bijli@pvrcinemas.
com, kamal.gianchandani@
pvrpictures.com
Ajay Goel
M/s Goel Cine Corporation
hulloajay@yahoo.com
Ajhai Acharya
M/s Baba Arts Limited
ajhaiacharya@yahoo.co.in
Ajit Andhare
M/s Viacom 18 Motion Pictures/

ajit.andhare@viacom18.com
M/s Viacom 18 Media Pvt. Ltd.
Akkineni Nagarjuna Rao
M/s Annapurna Studios Pvt. Ltd.
Aly Morani
Aman Gill
abhaychopra@brlmsindia.
com
com
com
nakkineni@gmail.com
M/s Cineyug Media

moranialy@gmail.com
M/s Gill Pictures Entertainment
amangill99@hotmail.com
Pvt. Ltd.
Amit Khanna
M/s Filmunit
amit@amitkhanna.in
Amitabh Bachchan
M/s A B Corp Limited
abcl@bom3.vsnl.net.in
Anil Kapoor
M/s Anil Kapoor Films Co. Pvt. Ltd.
anilkapoor@gmail.com
Anupam Kher
anupamkher@gmail.
M/s Actor Prepares Productions com,herman@
anupamkhercompany.com
242
05-05-2015 17:42:46

Anushka Sharma/Karnesh
M/s Clean Slate Films Pvt. Ltd.
Sharma
M/s Inspired Entertainment Pvt.
Arun Pandey
Ltd.
M/s Reliance Broadcast
Asheesh Chatterjee
Network Ltd.
asheesh.chatterjee@
reliancebroadcast.com
Ashim Samanta
M/s Aradhana Films
samantamovies@gmail.com
Ashim Sen
M/s Masen Production Pvt. Ltd.
ashims@masengroups.com
Ashish Bhatnagar
M/s IDream Motion Pictures

Pvt. Ltd.
Ashok Thakeria
M/s Maruti International
Ashutosh Gowariker
M/s Ashutosh Gowariker

Productions Pvt. Ltd.
ashish@
idreammotionpictures.com
marutint@vsnl.
com,marutipictures@gmail.
com
ashutosh@agppl.com;info@
agppl.com, ashgow@hotmail.
com
Asitkumarr Modi
M/s Neela Telelms Pvt. Ltd.
asitmodi@neelatelelms.com
M/s Super Cassettes Industries

Ltd.
M/s BSK Network and
bhushankumar@tseries.
net,mukeshdesai@tseries.net
Bhushan Kumar
Boney Kapoor
Cushru P Shroff
D Suresh Babu
Denzil Dias
karnesh@cleanslatelms.in
arunpandey@rhitisports.com
boneykapoor@hotmail.com
cushru.shroff@
loweandpartners.com
suresh@sureshproductions.
M/s Suresh Productions (P) Ltd. net,archana@
sureshproductions.com
M/s Warner Bros. Pictures
denzil.dias@warnerbros.com
(India) Pvt. Ltd.
M/s Lin-TV Advertising Pvt. Ltd.
Dheeraj Kumar
M/s Creative Eye Ltd.
dheerajcel@yahoo.co.in
Dr. Bhupendra Kumar

Modi
M/s Spice Corp Ltd.
bipl2005@gmail.com,
wilsonurban@gmail.com
Ekta Kapoor
M/s Balaji Films Ltd. / Ms Balaji

Motion Pictures Ltd.
chloeferns@yahoo.com
Farhan Akhtar
M/s Excel Entertainment Pvt. Ltd.
farhan@exlent.com,ritesh@
exlent.com
G B Aayeer
M/s Saregama India Limited
gb.aayeer@rp-sg.in
Govind Nihalani
M/s Udbhav Dreamzone Pvt. Ltd.
govindnihalani@gmail.com
Guneet Monga/Achin Jain M/s Sikhya Entertainment Pvt. Ltd. guneet@sikhya.in
Cannes Film Market
243
05-05-2015 17:42:46

Himanshu Mehra
M/s Movie Temple Productions

Pvt. Ltd.
himanshumehra@gmail.com
Hiren Gada
M/s Shemaroo Entertainment Ltd.
hiren@Shemaroo.com
J Om Prakash
M/s Filmyug Pvt. Ltd.
J.P.Dutta
M/s J. P. Films
Jyotin Goel
M/s Goel Screencraft
jyotin_g@hotmail.com
Kalyaan Guha
M/s Film Farm India Pvt. Ltd.
pintooguha@gmail.com
Kamal Kumar Barjatya
M/s Rajshri Pictures Pvt. Ltd.
barjatya@rajshri.com,
ramanathan@rajshri.com
Kamna Menezes
M/s SOL Productions Pvt. Ltd.
kamna@solworld.net
Karan Johar
M/s Dharma Productions Pvt.

Ltd.
apoorva@dharma-production.
com
Ketan Anand
M/s Himalaya Films
kunkianand@gmail.com
Kiran V Shantaram
M/s V Shantaram Productions

Pvt. Ltd.
kiran@rajkamalstudio.com
Kumar Taurani
M/s Tips Industries Ltd.
kumar@tips.in
Kunal Kohli
M/s Kunal Kohli Productions

Pvt. Ltd.
Madhu Mantena/Vikas
Bahl/Ashwatha Aaron
Naik
M/s Phantom Films Pvt. Ltd.,
kunalkohli@kkp.co.in,
sanjana@kkp.co.in
madhu@Phantoms.in,vikas@
phantoms.in,kamlakar@
bigbangcompany.com
Manish Goswami
M/s Siddhant Cinevision Ltd.
mg@scvl.in
Manmohan Shetty
M/s Walkwater Media Ltd.
manmohanshetty@
adlabsentertainment.
com,eleena.dsilva@
adlabsentertainment.com
Milan Luthria
M/s Vertex Motion Pictures Pvt. Ltd. luthriamilan@gmail.com
Mohan Kumar
M/s Emkay Films Pvt. Ltd
emkaylmspvtltd@yahoo.co.in
Mohan Umrotkar
M/s Reliance Mediaworks Ltd.
mohan.umrotkar@
relianceada.com
Mrinal Sen
Ms. Madhu Bhojwani
lmkraf@vsnl.com,
shashankjare@yahoo.com
duttajp@gmail.com,jassi@
jplms.net
mrinal_sen@dataone.in
M/s Emmay Entertainment &
Motion Pictures LLP,
244
madhu.bhojwani@gmail.com
05-05-2015 17:42:46
Mukesh Bhatt
Mukesh Bhatt
N P Singh
Neeraj Roy
Nikhil Advani
Nina Lath Gupta
Nishi Prem
Nitin Raghuvanshi
mukesh.bhatt@visheshlms.
M/s Vishesh Entertainment Pvt. com,sb@visheshlms.
Ltd.
com,gilbert@visheshlms.
com
mukesh.bhatt@visheshlms.
com,sb@visheshlms.
M/s Vishesh Films Pvt. Ltd.
com,gilbert@visheshlms.
com
nps@setindia.com,diptik@
M/s Multi Screen Media Pvt. Ltd.
setindia.com
M/s Hungama Digital Media
neeraj@hungama.com
M/s Emmay Entertainment
nikadvani@gmail.com
Pvt. Ltd.
M/s National Film Development
nina@nfdcindia.com
Corp. Ltd
M/s Paanch Rupaiya Bara Aana nishiprem@prbaproductions.
(PRBA) Productions Pvt. Ltd.
com,virenbhayani@gmail.com
M/s Sahara One Media &
nitin.raghuvanshi@
Entertainment Ltd.
saharaqcloud.in
Nuzhat Khan
M/s Nasir Husain Films Pvt. Ltd.
nasirhusainlms@yahoo.com
Prakash Jha
M/s Prakash Jha Productions
prakashjha_productions@
rediffmail.com,klchhabra15@
gmail.com
Prateek Chakravorty
M/s Pramod Films
pramodlms@vsnl.net
Prem Sagar
M/s Sagar Entertainment Ltd.
premsagar@sagartv.
com,pintoo@sagartv.com
Priti Shahani
M/s Junglee Pictures Limited
Priti.shahani@timesgroup.com
Pritish Nandy
Rahul Johri
M/s Pritish Nandy

Communications Ltd.
M/s Discovery Communications
India
imtiaz@pritishnandycom.com
rahul_johri@discovery.com
Raj Kumar Kohli
M/s Shankar Movies
Rajan Shahi/Ranjit
Agrawal
M/s Director's Kut Production
shahirajan@yahoo.co.in
Rajesh Mishra
M/s UFO Moviez India Limited
rajesh.mishra@ufomoviez.
com
Rajith Menon
M/s Amalgam Entertainment,
24amalgam@gmail.com
Rajiv Rai Sachdev
M/s Trimurti Films Pvt. Ltd.
info@trimurtilms.com
Cannes Film Market
245
05-05-2015 17:42:46

Rajkumar Hirani/Sanjiv
Kishinchandani/Dileep
Desai
M/s Rajkumar Hirani Films Pvt.

Ltd.
Rakesh Roshan
M/s Filmkraft Productions

(India) Pvt. Ltd.
Ramesh Prasad
M/s Prasad Productions Pvt. Ltd.
Ramesh Sippy
M/s R. S. Entertainment Pvt. Ltd.
mail@sippy.net
Randhir Kapoor
M/s R. K. Films & Studios
randhirkapoor@rklms.net
Randhir Kapoor
M/s R. K. Films & Studios Pvt. Ltd.
randhirkapoor@rklms.net
Ratan Jain
M/s Venus Worldwide

venus7.music@gmail.
com,jainrtn@gmail.com
Renu Ravi Chopra
M/s B.R. Studios LLP
renuchopra@brlms.in
Ritesh Batra/Ms. Seher

Latif
M/s Poetic License Motion

Pictures Pvt. Ltd.
M/s Mumbai Mantra Media
Limited
seherlatifm@gmail.com;
riteshbatra@gmail.com
rohit.mumbaimantra@gmail.
com
M/s Rupam Pictures Pvt. Ltd.
romu@mail.com
Rohit Khattar
Romu N Sippy
Sabbas Joseph
Sajid Nadiadwala
Salman Khan/Amar
Butala/Garima Mehta
Sameer Rattonsey
Samir Gupta
Sandeep Singh Bedi
Sanjeev Lamba
Shah Rukh Khan
Shakti Sagar Chopra
rhf@rajkumarhirani.com
lmkraf@vsnl.
com,shashankjare@yahoo.
com
ramesh@prasadlab.
com,jnaidu@prasadlab.com
sabbas.joseph@
wizcraftworld.com;
sabbasjoseph@iifa.com
mail@nadiadwalagrandson.
M/s Nadiadwala Grandson
com,sajid.nadiadwala@gmail.
com
garima@skvonline.com,gm.
M/s Salman Khan Ventures Pvt.
garima@gmail.com,info@
Ltd.
skvonline.com
M/s Cinema Paradiso
sameer@cinemaparadiso.
co.in
samir@cinemacapitalindia.
M/s Cinema Capital
com,info@cinemacapitalindia.
com
M/s Wizcraft International
M/s Kaleidoscope Ent. Pvt. Ltd
bobby@kepl.in
M/s Reliance Entertainment

- Division of Reliance Big
M/s Red Chillies Entertainments
Pvt. Ltd.
venkymysore@redchillies.
com,blesson@redchillies.com
M/s Fable Tree Pictures Pvt. Ltd.
shakti@fabletree.in
246
sanjeev.lamba@relianceada.
com
05-05-2015 17:42:46

Shaukat Khan
M/s Mehboob Productions

Private Ltd.
mppl786@gmail.com
Sheetal Talwar
M/s. WSG Pictures Pvt. Ltd.
sheetal@vistaar.bz
Shhyam Singhania
Shiamak Davar
Shiv Surinder Kumar/
Sanjana Chopra
Shridhar Subramaniam
Shyam Benegal
Siddharth Roy Kapur
Sidhartha M Jain
Sourav Chatterjee
Srishti Arya
Subhash Ghai
shhyam@enarr.com
M/s Shiamak Davar
International (India) Ltd.
M/s The Bombay Film Company
Ltd.
M/s Sony Music Entertainment
India Pvt. Ltd.
M/s Shyam Benegal Sahyadri
Films
shiamak.davar@shiamak.com,
nigel.dsouza@shiamak.com
sanjanac@gmail.com
shridhar.subramaniam@
sonymusic.com
benegal@vsnl.net
siddharth.roykapur@disney.
com,rachel.fernandes@
disney.com
sid@irockindia.com,naina@
M/s IRock Media Pvt. Ltd.
irockindia.com
sourav.chatterjee@
contentratechnologies.
M/s Planman Motion Pictures
com,rahul.singh@
planmanconsulting.com
shrishti.arya@gmail.
M/s Rose Audio Visuals Pvt. Ltd.
com,roopali.gs@gmail.com
sgmukta1@gmail.
M/s Mukta Arts Limited
com,parvez@muktaarts.com
M/s UTV Software
Communications Ltd.
Subhash Mukerji
M/s Subodh Mukerji Productions sreeti315@gmail.com
Sujit Kumar Singh
M/s Shreya Entertainment Pvt.

Ltd.
sujit@shreya.co.in,akamat@
shreya.co.in
Suneil Anand
M/s Navketan (1978)
navketan1@hotmail.com
Suniel Anand
M/s Navketan Films
Suniel Anand
Sunil Doshi
M/s Navketan International

Films
M/s Alliance Media &
Entertainment
sunil.doshi@alliancemedia.in
Sunil Lulla
M/s Eros International Media Ltd. sunil.lulla@erosintl.com
Sunjoy Waddhwa
M/s Sphereorigins Multivision

Pvt. Ltd.
sunjoy@sphereorigins.com,
info@sphereorigins.com
Sushilkumar Agrawal
M/s Ultra Distributors Pvt. Ltd.
ceo@ultraindia.com
Cannes Film Market
247
05-05-2015 17:42:46

Uday Shankar
M/s Star India Pvt. Ltd.
uday.shankar@startv.com
Uday Singh
M/s Motion Picture Association

(MPA) Of America
uday_singh@mpaa-india.org
Umesh Mehra
M/s Eagle Films Pvt. Ltd
umeshmehra.mehra@gmail.com
Umesh Shukla
M/s Benchmark Pictures Pvt. Ltd. benchmarkpictures@gmail.com
Uttam Jhavar
M/s Morya Arts Pvt. Ltd.
Vaibhav Anand
M/s Vaibhav Vijay Anand

Pictures
Varjinder Chhabra
M/s Anand Sagar Media And

Vidhu Vinod Chopra
M/s Vinod Chopra Productions
Vijay Singh
M/s Fox Star Studios India Pvt.

Ltd.
Vikram Bhatt/ Anjukumar M/s ASA Production &

Bishnoi
Enterprises Pvt. Ltd.
Vipul Amrutlal Shah
Vipul D. Shah/Sanjiv
Sharma
Vishal Bharadwaj
Vivek Singhania
M/s Block Buster Movie

Entertainers
jhavaruttam@gmail.
com,uttam@morya.com
vijayanandproductions@
gmail.com
varjinderchhabra@gmail.com,
anandsagarmedia@yahoo.
com
vcp@vinodchopra.
com;sameer@vinodchopra.
com, bhavin.vcf@gmail.
com,bhavin@vinodchopra.com
vijays@in.foxstarstudios.
com,anahitab@
in.foxstarstudios.com
vikrampbhatt@gmail.com
"vipul_a_shah@hotmail.
com,aashin.shah@
sunshinepictures.in"
M/s Optimystix Entertainment

India Pvt. Ltd.
M/s Vishal Bhardwaj Pictures
Pvt. Ltd.
vbpictures@gmail.
com,shrutiv11@gmail.com>
M/s Picture Perfect
vivek.pictureperfect@gmail.com
M/s TV18 Broadcast Ltd.
Vailankani.Almeida@
network18online.com
vipuls@optimystix.tv
M/s Tilak Movies Pvt. Ltd.

M/s Prakash Mehra Pictures P. Ltd. puneetmehra@gmail.com
M/s V R Pictures
M/s Sippy Films Pvt. Ltd.
subhash@sippylms.com,
subhashparsekar@hotmail.com
For Complete List of Film & T.V. guild members:

www.lmtvguildindia.org
248
05-05-2015 17:42:46
ASSOCIATIONS &
INDUSTRY BODIES
Film Federation
of India
The Film & TV
Producers Guild of
India
Indian Council of
IMPEX for lms and
TV Programmers
Federation of
Indian Chambers
of Commerce and
Industry
supransen.lmfed@hotmail.com
kulmeet@lmtvguildindia.org
lmexporters@gmail.com
leena.jaisani@cci.com
Confederation of
Indian Industry
amitasarkar@cii.in
Associated
Chambers of
Commerce and
Industry of India
ajay.sharma@assocham.com
Cannes Film Market
249
05-05-2015 17:42:46
ASSOCIATIONS
AFFILIATED TO FILM
FEDERATION OF INDIA
Association
President
Email Address
Andhra Pradesh Film Chamber of

Commerce
Mr. N. V. Prasad
info@aplmchamber.com
Akhil Bharatiya Marathi Chirtrapat

Mahamandal
Mr. Vijay Vishnu

Patkar
chitrapatmahamandal@
gmail.com
Bihar & Jharkhand Motion Pictures

Association
Dr. Sunil Kumar
bjmpa.bihar@gmail.com
Central Circuit Cine Association
Mr. J. P. Chowksey
cccaindore@rediffmail.
com
Cinema Owners & Exhibitors

Association of India
Mr. Nitin Datar
udaychitra.datar@gmail.
com
Chennai City Film Exhibitors

Association
Mr. Sv Rm
Ramnathan
1976abirami@gmail.com
Eastern India Motion Pictures

Association
Mr. Shrikant Mohta
shrikant@venkateshlms.
com
Film Makers Combine - Chairman
Mr. T.P. Aggarwal /

Mr. Sangram Shirke
indialm@gmail.com
Film & Television Producers Guild of

South India
guildsouth123@hotmail.
com
Indian Council of Impex for Films & TV

Programmers
Mr. Hirachand Dand
madhuentertainment@
gmail.com
Indian Documentary Producers

Association
Mr. Mike Pandey
tigersdomain@gmail.com
Indian Motion Picture Producers

Association
Mr. T. P. Aggarwal
tripat_aggarwal@yahoo.
com
Kerala Film Chamber of Commerce
Mr. K Nanda Kumar
kaimalnandu@gmail.com
Karnataka Film Chamber of Commerce
Mr. Thomas Dsouza
roydondza@gmail.com
Kannada Film Producers Association
Mr. Munirathna
kfpa82@gmail.com
250
05-05-2015 17:42:46

Kinematograph Renters Society Pvt.
Ltd,
krsindia@vsnl.net
Motion Pictures Association
Mr. Sakshi Mehra
sakshimehra@rediffmail.
com
Motion Pictures Association of America

Inc.
Mr. Uday Singh
uday_singh@mpaa-india.
org
South Indian Film Chamber of

Commerce
Mr. Shashi
Balakrishnan
geets@yahoo.com
Tamil Film Produces Council
Mr. Thanu
tfpcouncil@yahoo.co.in
Tamilnadu Film Chamber of Commerce
Mr. Abirami
Ramanathan
1976abirami@gmail.com
Telugu Film Producers Council,

Hyderabad
Mr. B. Shivaram
Krishna
tfpchyd@gmail.com
Telugu Film Producers Council, Chennai
Mr. Edida
Nageshwara Rao
The Indian Motion Picture Distributors

Association
Mr. Ramesh Sippy
South Indian Film Exporters

Association
Cannes Film Market
rameshshipp@gmail.com
251
05-05-2015 17:42:46
INDEPENDENT FILM
MAKERS-PRODUCERS
ALAN MCALEX
DEEPAK ASWANI
JAMAL DOUBA
Jar pictures
Handmade lms pvt ltd
Media link international
alan@jarpictures.com
deepak@
theadaptationcompany.com
j.douba@mli-lb.com
AMIT CHHEDA
JASMINE JAISINGHANI
Shethia audio video pvt. Ltd.
FARHATULLAH BEIG
Ifa
amitchheda@shethia.com
Honeybee media works

beig4lms@gmail.com
jasmine.jaisinghani@gmail.
com
Karma lm inc.
GANDHARV SACHDEV
JULIA ROSENBERG
anand@karmalm.ca
Celluloid entertainment pvt

ltd
January lms
ANUP SINGH
artecraftlms@gmail.com
ANAND RAMAYYA
Saskia vischer productions

anupsyng@gmail.com
julia@januarylms.ca
JUNAID MEMON
GAURI CHADHA
Nomad lms
Chasing frames productions
ARFI LAMBA
gaurichadha@gmail.com
junaid@nomadlmsindia.
com
Bombay berlin lm
production llp
GIRISH MALIK
KATHARINA SUCKALE
ar@bombayberlin.com
One world lms pvt. Ltd.
Bombay berlin lm
production
girish@oneworldlms.in
ks@bombayberlin.com
BIDHU BHUSHAN PANDA

Eleeanora images pvt. Ltd.
GUNEET MONGA
biju707@yahoo.com
Sikhya entertainment
KAUSHIK MUKHERJEE
guneet@sikhya.in
Overdose art pvt ltd

q@overdosejoint.in
DAVID LOCKWOOD
Umbrella entertainment
HARISH AMIN
david@umbrellaent.com.au
Speaking tree pictures pvt

ltd
KAVEETA OBEROI KAUL
DEEP SEHGAL
aminharish@gmail.com
kavitaok@gmail.com
IMTIAZ BAROLIA
MANJEET SINGH
Zero gravity pictures
Cinemanjeet creations
moviemagick@yahoo.co.in
cinemanjeet@gmail.com
Avatar productions
deep@avatarlms.org
252
Kriya movies
05-05-2015 17:42:46

MANMEET SINGH
RAJESH KUMAR JAIN
SHAZIA KHAN
Vr lms & studios pvt ltd
Krish movies
Saffron lms
themanmeet007@gmail.
com
rajeshjain@krishmovies.net
saffronlmsindia@gmail.
com
RAKESH MEHTA
MANU REWAL
Duniya vision / karma
productions
Celluloid entertainment pvt

ltd
SHRIHARI SATHE
rakesshhmehta@gmail.com
ssathe@innitumproductions.com
manu@duniyavision.com
Innitum productions
RICKY SINHA
NIKHIL MAHAJAN
Khyati productions
pvt. Ltd.
SUHRUD GODBOLE
Blue drop lms

nikmahajan@gmail.com
ricky.s209@gmail.com
suhrud@imepl.com
NIKHIL SANE
ROMAN JEDRKOWIAK
SUNIL DOSHI
Essel vision
productions ltd.
Adhd warsaw
Alliance media &

entertainment pvt. Ltd
nikhil.sane@zee.esselgroup.
com
roman.jedrkowiak@
adhdwarsaw.pl
Ime motion pictures
sunil.doshi@alliancemedia.in
RUPESH PAUL
SUNIR KHETERPAL
PARVIN DABAS
Cinema verite
Azure entertainment
Very shy lms pvt ltd
rupeshpaul@gmail.com
sunir@iamazure.com
veryshylms@gmail.com
SAMIT KAKKAD
SURESH K MENON
PRAVESH BHARDWAJ
Akshara lms division
Motion lm picture inc
Medient studios india
aksharalms@gmail.com
sureshmenon19@gmail.com
pravesh.bhardwaj@medient.
com
SANDEEP KULKARNI
TAPAAS CHAKRAVARTI
Kathakaar entertainment
sandipkulkarrni@gmail.com
Dq entertainment
international limited
SANJAY SURI
tapaas@dqentertainment.
com
RAJ AMIT KUMAR

Dark frames
akr@darkframes.com
RAJAN KHOSA
Elephant eye productions
pvt. Ltd.
Anticlock lms
sanjay@
kahwaentertainment.com
VASANTHAKUMAR
THIRUMAVALAVAN
Ajj lm services
ee@rajankhosa.com
SHAHIN BAZIL
ajjthiru@vsnl.net
RAJESH JALA
Century 21 visual media

company
VEENA BAKSHI
The elements
bazil@century21vmc.ir
Shree narayan studios pvt

ltd
rajeshjala@gmail.com
veena.bakshi@gmail.com
Cannes Film Market
253
05-05-2015 17:42:46

VIKRAM SHERMA
VIVEK RANGACHARI
MARAR
Cvs lms
Dar media pvt. Ltd.
Kreasen
tyraxv@hotmail.com
vivek.rangachari@darworld.
com
gmarar@yahoo.com
VIVEK RANGACHARI
Dar media pvt.Td.
XAVIER DSOUZA
arun.rangachari@darworld.
com
Shree narayan studios pvt

ltd
zav4u@yahoo.co.in
This is just an indicative list. If you are looking for

an independent lmmaker who is not included in
this list, or have any query, mail us at
indiaatcfm@gmail.com
254
05-05-2015 17:42:46
05-05-2015 17:42:47
05-05-2015 17:42:47
30-04-2015 22:27:12

Government of India
www.makeinindia.com

Government of India
INDIA
FILM GUIDE

GOVERNMENT OF INDIA
ROOM NO.107, FILMS WING, SHASTRI BHAVAN
DR. RAJENDRA PRASAD ROAD
NEW DELHI - 110 001 INDIA

Government of India
Sirifort Auditorium Complex,
August Kranti Marg, New Delhi- 110049
Tel: 91 11 26499371
www.dff.nic.in; www.if .nic.in
Federation of Indian Chambers of

Commerce and Industry
FICCI Federation House, Tansen Marg
New Delhi, India 110001
Tel: +91-11-23738760
www.cci.com
INDIA FILM GUIDE 2015
in partnership with
Cannes Film Market

India Pavilion
in partnership with
111 International Village Riviera

May 14-24, 2015
30-04-2015 22:26:20

India at Cannes 2015

Încărcat de

Informații document

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

India at Cannes 2015

Încărcat de

Drepturi de autor:

Formate disponibile

Ministry of Information & Broadcasting

MINISTRY OF INFORMATION AND BROADCASTING

Ministry of Information & Broadcasting

MINISTRY OF INFORMATION AND BROADCASTING

Directorate of Film Festivals

India at Cannes_Cover_with Spine_new.indd 1

Federation of Indian Chambers of

INDIA FILM GUIDE 2015

Cannes Film Market

111 International Village Riviera

India at Cannes_Cover_with Spine_new.indd 2

KEY INDUSTRY CONTACT LIST 237

Cannes Film Market

Cannes Film Market

Cannes Film Market

Film Policies of the Ministry of

Film Sector Initiatives

Ministry of Information and

Ministry of Information &

India Film Guide 2015

The Mandate of the Ministry Includes

Film Sector Initiatives

The execution of the lm mandate of the Ministry of

The Ministry of Information & Broadcasting is

Cannes Film Market

Film Sector Initiatives

Single Window for Film

single window service for promoting

Act as a facilitation point for the lm

ii. Disseminate information on shooting

SEND YOUR APPLICATIONS FOR SHOOTING

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

India Film Guide 2015

Film Sector Initiatives

also include information on state-wise

Effectively, the single window system for

After making an application online, lmmakers

The Ministry of Information & Broadcasting is in

Cannes Film Market

Film Sector Initiatives

Audio Visual Co-Production

Many countries provide access to public funds

It is now possible for lmmakers of different

The Government of India does not provide

Each agreement identies the Competent

Film Sector Initiatives

Co-production agreements help

India has a huge advantage of being part of

Cannes Film Market

Text of Indias co-production agreements:

Film Sector Initiatives

New Cinematograph Act

Stringent Penalties for piracy

Piracy is one of the major concerns of the lm

Composition of Advisory panels and their

India Film Guide 2015

Film Sector Initiatives

Taking piracy out

Dissemination of multi-media campaigns on

Road shows /Street Plays on creating

Training programmes and workshops to

Programme on building awareness in

Conduct of research on the effects of

Cannes Film Market