Amidst the bustling fervor typically accompanying India’s most prestigious cinematic congregation, a discernible void resonated throughout the 54th International Film Festival of India (IFFI) last year, as four films set against variegated backdrops — a besieged Gaza Strip, the alleyways of Turkey, Hungary’s metropolitan expanse, and the tranquil highlands of Bhutan — were notably absent. This was no inadvertent omission. Records retrieved from the Ministry of Information and Broadcasting have illuminated that the Union Government deliberately denied screening permissions to these films at the event held in Goa, November last year.
The quartet of international productions thus stifled from gracing Indian screens includes “A Gaza Weekend,” a poignant satire helmed by Basil Khalil. This film, set in a post-epidemic Israel, presents the Gaza Strip as an ironically safe haven amidst regional unrest. From Hungary, came “Explanation for Everything,” a dramatic masterpiece orchestrated by Gábor Reisz that clinched the Orizzonti award for best film at the 80th Venice Film Festival. “The Monk And The Gun,” courtesy of director Pawo Choyning Dorji, mounts a satirical lens upon Bhutanese mock elections. Lastly, “Dormitory,” directed by Nehir Tuna, sketches the coming-of-age of a teenager consigned to an Islamic seminary, a narrative brooding with drama yet left untold at the festival.
Film festivals serve as global showcases, transcending languages and borders to reel in cinemas diverse tapestry. With said recognition, the Indian government typically regularizes film screening processes differently for such events. Audiences are smaller, more eclectic, and thus, the normal insistence upon a certificate from the Central Board of Film Certification (CBFC) is judiciously waived. Nevertheless, the I&B Ministry does mandate a government clearance, irrespective of the CBFC’s position, for films to be showcased in festivals within the Indian territory.
For a film to bypass the CBFC certificate, festival organizers must convene a “preview committee,” in keeping with guidelines established back in 2006. This committee is constituted of individuals affiliated with the film industry, be they critics, writers, or other related professionals. However, scrutiny seems inconsistent, especially when examining the disparate treatment among these four films.
Consider “The Monk and the Gun,” a well-received production that was simultaneously Bhutan’s official entry to the Oscars. Despite being barred from IFFI, it had premiered at the Jio MAMI Film Festival in Mumbai a month prior, even securing an award. Furthermore, the film is slated for a theatrical release across Indian cinemas, affirmed by a trailer by Impact Films and a nod from the CBFC in February.
Such disparities raise questions about the metrics used to sanction film screenings. Are these decisions influenced purely by bureaucratic protocol, or do they bear the signature of other, less transparent reasoning? The Ministry’s silence on the criteria applied to deny these films their due spotlight at IFFI enhances the aura of confounding intrigue surrounding this exclusion.
The implications run deeper than mere programming gaps. Films are ambassadors of culture, touching on shared human experiences. When a government intervenes, deciding which artistic works cross its borders — and those that don’t — the echo chamber shrinks. Film not only loses bits of its universal language but also the rich linguistic diversity that it inherently champions.
The decision of the Ministry has undoubtedly shaped the cultural narrative, eclipsing what could have been a broadened horizon for Indian audiences. It’s a scenario symptomatic of a larger narrative of control versus creative expression, and as the allure of global cinema continues to enchant, such restrictions remain pivotal talking points within the ever-evolving dialogue of art, policy, entertainment, and perhaps, most importantly, freedom.
