In the cinematic world where film festivals often act as gateways to recognition, writer and director Tahira Kashyap has found her place as a self-proclaimed “festival kid.” During an intimate conversation at the Cinevesture International Film Festival 2024 (CIFF), Kashyap shared her journey through the lens of these highly regarded film events.
Her directorial journey began with the short film ‘Toffee’ in 2017, which not only marked her foray into filmmaking but also ushered her into the festival circuit where she gained significant acknowledgment. “I am a festival kid only. I got my acknowledgment through film festivals only,” she said reflectively. The selection of ‘Toffee’ at various festivals was a transformative experience, catalyzing her love for short films and the festival platform.
Addressing her fondness for feature films at festivals, Kashyap highlighted a recent achievement where her feature film ‘Sharmajee Ki Beti’ made its appearance at the prestigious MAMI Film Festival. Festivals like these not only showcase films but also serve as melting pots where filmmakers converge, sessions are held, and a celebration of world-class cinema ensues. Kashyap further delighted in the universal appeal of Indian films, recounting her visit to the Taiwan International Film Festival, where she experienced overwhelming appreciation and respect for her work.
Despite being the wife of celebrated actor Ayushmann Khurrana, Kashyap is an accomplished artist in her own right. She is a steadfast advocate for storytelling in all formats, emphasizing her love for the creative process of writing, portraying, and visualizing narratives. Her passion extends beyond festival appreciation; she is very content with short films making waves but acknowledges the limited mainstream inclusion, primarily as parts of anthologies. These still have a way to go before achieving producer satisfaction compared to feature films due to market dynamics.
Yet, Kashyap remains optimistic about the potential rise of short films if they are consumed equally on digital platforms, encouraging a more conducive environment for directors to share their artistry. She closed on an affirmative note, pleased with the production of short films in regional Indian languages, celebrating the cultural diversity of India and the opportunity these films provide in introducing languages to unfamiliar audiences.
Tahira Kashyap’s experiences and insights shed light on the symbiotic relationship between filmmakers and film festivals. Her narrative suggests that while festivals offer validation and exposure, filmmakers like her infuse these events with fresh, diverse content. Her story stands testament to the unique role festivals play in the success and journey of independent filmmakers, whose works might otherwise remain unseen.
As an emerging voice in the world of cinema, Kashyap’s reflections offer a rare glimpse into the intrinsic value that film festivals possess for artists seeking both recognition and the shared joy of cinematic exploration.
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