Indian Cinema’s Rising Stars Take the Spotlight at TIFF 2024
- Featured Film
Zara Flavia Dmello- 20 minutes read
As the Toronto International Film Festival (TIFF) wraps up its 2024 edition, the spotlight on global cinema has never been brighter, with India making a significant impact on the festival’s vibrant landscape. Running from September 5 to 15, TIFF has once again affirmed its role as a crucial platform for showcasing innovative storytelling from around the world. This year, India’s presence at TIFF underscores the country’s burgeoning influence in the global film industry, highlighting its diverse cinematic voices and rich storytelling traditions.
In 2024, India’s representation at TIFF is distinguished by an eclectic mix of six films that capture the country’s multifaceted narrative. From evocative dramas to groundbreaking narratives that challenge conventional norms, these films offer a glimpse into India’s evolving cinematic landscape. Notably, the inclusion of ‘Dil Hai Gray’ in the market section further extends India’s cinematic reach, emphasizing the country’s growing prominence as a hub for global filmmaking.
India’s participation at TIFF is not solely about showcasing films; it also serves as a strategic move to position the country as a premier destination for international film projects. The introduction of the ‘Come, Make a Film in India’ session highlights India’s progressive film policies and new single-window arrangement, designed to simplify the process for foreign filmmakers. This initiative aligns with India’s broader ambition to enhance its stature in the global film industry, building on the success achieved at the 77th Cannes Film Festival.
As TIFF 2024 unfolds, it sets the stage for the International Film Festival of India (IFFI) 2024, to be held in Goa later this year. The synergy between TIFF and IFFI promises to further elevate India’s film industry, showcasing its capacity for creative collaboration and cinematic excellence. The festival’s celebration of Indian cinema reflects a strategic vision to attract international filmmakers and promote India’s unique cultural and economic advantages.
In this spirit, we explore the remarkable lineup of Indian films featured at TIFF 2024, each offering a distinctive perspective on contemporary issues and timeless narratives. From gripping dramas to innovative storytelling, these films not only celebrate India’s cinematic prowess but also pave the way for future international collaborations.
Laapata Ladies – Directed by Kiran Rao [Lost Ladies]
It had been quite a while since India had seen a refreshing comedic social commentary quite like Laapata Ladies. When it was first released in theatres this March, everyone who watched it loved it; and everyone who didn’t watch it promptly streamed it when it was picked up by Netflix soon after. Beyond its good will among audiences, it was also quick to garner acclaim and stellar reviews from Indian critics.
It feels fitting that Laapata Ladies was part of the selection at one of the world’s most prestigious film festivals. The film, Kiran Rao’s eagerly anticipated follow-up to Dhobi Ghat (which was showcased at TIFF in 2010), brings to life a rural Indian setting in 2001, where the fates of two young brides become entwined in a humorous yet poignant tale of mistaken identities. Rao, known for her nuanced storytelling, once again delivers a narrative that is both entertaining and deeply reflective of the societal norms that govern women’s lives in rural India.
The film centers on Jaya (Pratibha Ranta) and Phool (Nitanshi Goel), two newlywed women who are accidentally swapped due to a mix-up on an overnight train. Veiled in their ornate bridal saris, the confusion begins when Phool’s nervous husband, Deepak (Sparsh Shrivastava), mistakenly takes Jaya with him, leaving Phool stranded and alone at a remote railway station. As the story unfolds, Jaya finds herself navigating the chaos and camaraderie of Deepak’s joint family, where she experiences a newfound sense of sisterhood, innocent flirtation, and even a chance to assert her intellect. Phool, on the other hand, is befriended by a scrappy railway urchin and his partner, and taken under the wing of a tough yet motherly tea stall owner, Manju Mai (Chhaya Kadam).
What begins as a light-hearted comedy of errors gradually evolves into a sharp critique of patriarchal marriage and the expectations placed on women within such a system. Rao’s direction allows the film to maintain a lively pace, supported by a catchy and playful soundtrack, while still offering substantial commentary on the lives of women who are often forced into roles that stifle their true identities. The film’s strength lies in its ensemble cast, each character bringing a unique flavour to the narrative. Ravi Kishan shines as the bumbling, self-important police officer Shyam Manohar, whose investigation into the missing brides adds an extra layer of humour to the story. The charm of Laapata Ladies lies in its ability to mix whimsical comedy with profound social insights, making it both a feminist statement and an engaging piece of cinema.
Thank You For Coming – Directed by Karan Boolani
Despite her upbringing in one of India’s most well-known commercial film families, Rhea Kapoor has made her name in the industry as a provocative, unconventional filmmaker and producer. Her work, like her debut film Veere Di Wedding, though set in her own kinds of upper crust urban circles, engages in narratives that don’t typically abide by the Bollywood rom-com format.
Such is the appeal of Thank You For Coming, her most recently produced film, directed by her husband, Karan Boolani. The film shakes up the conventional narratives of romance and desire in Indian cinema with a story that’s unapologetically sex-positive and brimming with humour and heart. At the centre of this lively tale is Kanika Kapoor, portrayed by Bhumi Pednekar in a role that perfectly balances vulnerability and comedic flair. Kanika is a successful food blogger in Delhi, the picture of modern success, yet plagued by an issue that undermines her confidence—she has never experienced an orgasm, despite her numerous romantic entanglements. This quest for satisfaction, both emotional and physical, leads her to the brink of settling for a less-than-ideal match, a suitor who, while devoted, lacks the spark she desperately craves.
The narrative takes a deliciously unexpected turn the morning after Kanika’s engagement party, when she wakes up with a sense of fulfilment she’s never known before. The catch? She can’t remember who was responsible for this newfound satisfaction. What ensues is a comedic and self-reflective journey as Kanika embarks on a mission to uncover the mystery lover, re-evaluating her relationships and her desires along the way. This reverse Cinderella story is not about finding a prince, but about a woman discovering her own needs and desires, defying societal expectations of what a ‘good’ woman should want.
Boolani’s direction, combined with a sharp script, ensures that Thank You For Coming doesn’t shy away from the complexities of female desire. Instead, it embraces them, delivering a narrative that is both liberating and relatable for many women who have felt pressured to conform to traditional expectations. The film’s comedic elements are amplified by Pednekar’s brilliant performance, supported by a strong ensemble cast. Anil Kapoor shines as one of Kanika’s exes, bringing his signature charisma to the role, while the rest of the cast adds depth and humour to this already bright, zesty film. Thank You For Coming is a bold and necessary addition to Indian cinema, one that challenges the status quo and offers a fresh perspective on what it means to pursue happiness on one’s own terms.
Superboys of Malegaon – Directed by Reema Kagti
Superboys of Malegaon is a captivating exploration of the world of amateur filmmaking, set in the small town of Malegaon, India. Directed by Reema Kagti and produced by Zoya Akhtar, this film dives into the life of Nasir Shaikh, an aspiring filmmaker whose lack of formal resources is more than made up for by his boundless enthusiasm and ingenuity.
The story unfolds in 1997, with Nasir, portrayed by Adarsh Gourav, who is known for his role in The White Tiger. Nasir’s love for cinema is evident as he creates inventive mashups of classic action sequences from Buster Keaton and Jackie Chan. His creativity and resourcefulness lead him to a groundbreaking idea: remaking the classic Bollywood film Sholay, using whatever resources he can muster. With equipment borrowed from a wedding videographer and a cast of local friends, Nasir’s remake of the 1975 blockbuster becomes an unexpected hit, transforming his hometown into a vibrant hub of cinematic innovation.
The film not only chronicles Nasir’s ambitious project but also highlights the friendships and community support that play a crucial role in his journey. As Nasir and his friends navigate the challenges of filmmaking with limited resources, their camaraderie and dedication shine through. Superboys of Malegaon presents a series of comedic and heartfelt moments, reflecting the highs and lows of their creative endeavours.
Written by Kagti and Varun Grover, the film provides a richly detailed portrayal of Nasir’s world, balancing humour and drama with insightful observations on the nature of artistic pursuit. It celebrates the power of imagination and the significant impact of collective effort in achieving seemingly impossible dreams. Through its portrayal of Nasir’s determined efforts and the lively characters surrounding him, Superboys of Malegaon celebrates the joy of filmmaking and the profound impact of communal support in creative spaces.
Dear Jassi – Directed by Tarsem Singh Dhandwar
Dear Jassi marks a compelling return for Tarsem Singh Dhandwar, a filmmaker renowned for his visually arresting works such as The Fall (TIFF 2006). His latest film ventures into the heart of India, offering a poignant portrayal of love and familial strife against the backdrop of societal expectations. This deeply personal narrative sheds light on a real-life Romeo and Juliet story, illuminating the trials faced by a young couple determined to be together despite the odds.
Set in the 1990s, the film introduces Jassi (played by Pavia Sidhu), who travels from Canada to visit her extended family in Jagraon. There, she encounters Mithu (Yugam Sood), a humble rickshaw driver whose charm and sincerity quickly win her over. Their brief, yet intense connection evolves into a heartfelt romance, marked by a series of exchanged love letters and Mithu’s earnest plans to reunite with Jassi. However, the couple’s dreams are threatened by the harsh realities of cultural expectations and familial opposition.
As Jassi’s family reacts violently to potential suitors and she is reminded of the formidable barriers that stand in the way of their relationship, the narrative unfolds with growing tension and emotional depth. The film explores not only the beauty of their love but also the grim realities that confront them, creating a gripping contrast between the romance of their letters and the perilous situation they face.
Dear Jassi is not a love story but the role of love against a backdrop of social injustice. Tarsem Singh Dhandwar’s direction is both artful and unflinching, capturing the harsh truths that lie beneath the surface of picturesque landscapes. His storytelling prowess and commitment to revealing the less visible sides of life make this film a significant addition to his body of work, blending emotional depth with an unwavering gaze at the social issues that shape the characters’ lives.
Kill – Directed by Nikhil Nagesh Bhatt
Kill, directed by Nikhil Nagesh Bhatt, plunges viewers into a high-octane martial arts thriller that transforms a passenger train into an arena of relentless combat. The film stands out for its adrenaline-pumping action and inventive approach to storytelling, capturing the intensity of close-quarters fighting within the confined spaces of a moving train.
Set against the backdrop of the Rajdhani Express en route to New Delhi, the plot revolves around Tulika (Tanya Maniktala) and Amrit (Lakshya), whose secret romance faces a dramatic turn when Tulika’s family forces her into an arranged marriage. Determined to rescue his beloved, Amrit, along with his commando partner Viresh, sets off on a daring mission to intercept the train. Their plans are upended when a gang of ruthless bandits storms the train, leading to a fierce battle where every carriage becomes a new battleground.
Kill draws inspiration from historical train robberies by notorious Indian bandits known as “dacoits,” weaving this real-life menace into its thrilling narrative. The film’s action sequences are meticulously choreographed by Se-yeong Oh (known for The Yellow Sea and Snowpiercer) and Parvez Shaikh (Saaho and War), ensuring a visually striking and dynamic portrayal of combat. As Amrit and Viresh fend off the attackers with impressive martial arts skills, the tension escalates, with each train compartment offering a distinct and intense set piece.
Raghav Juyal’s portrayal of the menacing bandit leader Fani adds a layer of charismatic menace to the film, enhancing the psychological edge of the confrontation. The claustrophobic setting of the train amplifies the suspense, with every jarring stop and sudden shift adding to the film’s relentless pace. Kill not only delivers exhilarating action but also embeds a deeper narrative of personal stakes and heroism. Bhatt’s direction ensures that the film remains engaging and visually gripping, showcasing an inventive approach to the genre while paying homage to classic action cinema.
Vasudhaiva Kutumbakam – Directed by Anand Patwardhan [The World is Family]
Acclaimed for his fearless, insightful political documentaries, such as In the Name of God, Anand Patwardhan’s Vasudhaiva Kutumbakam is a compelling addition to his illustrious body of work, focusing on deeply personal themes. Renowned for his critical examinations of social and political issues in India, Patwardhan now turns his attention to his own family history, exploring their intertwined experiences with the country’s independence movement.
In this film, Patwardhan offers a heartfelt portrayal of his parents, Balu and Nirmala, whose lives intersect with the major figures and events of India’s struggle for independence. The documentary features intimate conversations filmed over three decades, revealing their perspectives on influential leaders such as Mahatma Gandhi, Jawaharlal Nehru, and B.R. Ambedkar.
Balu’s two brothers approached the fight against British rule from different perspectives. Rau was committed to non-violent resistance, enduring several imprisonments for his activism, while Achyut adopted a more radical approach, leading an underground movement under various aliases. Meanwhile, Nirmala’s early life in Hyderabad, Sindh, and her education at a non-communal school founded by Rabindranath Tagore, highlight her formative experiences and her eventual career as a pottery maker.
Patwardhan’s documentary does not shy away from contemporary issues. It poignantly addresses the persistent tensions between Hindus and Muslims, a theme that remains relevant in today’s political climate. By revisiting the ideals of unity and communal harmony championed during the independence movement, Vasudhaiva Kutumbakam advocates for a return to these principles amidst current societal divisions. The film also honours lesser-known figures such as Allah Bakhsh, who opposed the partition and championed communal unity. Vasudhaiva Kutumbakam serves as both a personal reflection and a broader commentary on the values of inclusivity and unity, inviting audiences to reflect on the enduring significance of these ideals in contemporary India.
Sthal – Directed by Jayant Digambar Somalkar [A Match]
In his feature debut, Jayant Digambar Somalkar’s A Match sheds light on the struggle between tradition and self-determination in rural India. Known for his keen observations and deeply personal storytelling, Somalkar offers a poignant exploration of a young woman’s fight to carve out her own path in a society bound by restrictive norms.
The narrative centres on Savita (Nandini Chikte), a young woman whose aspirations clash with the rigid expectations imposed by her community. As she endures a series of daunting interviews with prospective suitors’ families, Savita is confronted with questions about her education, background, and even her physical appearance. Her dark skin, modest height, and impoverished background are viewed as impediments, overshadowing her academic achievements and personal qualities.
Set against the backdrop of Dongargaon, Somalkar’s own village, A Match immerses viewers in the rhythms of rural life. The film captures the authenticity of its setting through a cast of local non-professionals, portraying their daily routines and the challenges they face, including the frequent power outages that punctuate their lives. This grounded approach provides a vivid, unfiltered view of the community. Somalkar’s direction blends this realism with subtle stylistic touches, such as the homage to Wong Kar Wai’s cinematic style in scenes of romantic tension. These moments, where time seems to slow and emotions intensify, add a lyrical quality to the film and highlight Savita’s inner conflict.
The film is more than just a depiction of rural life; it is a powerful commentary on the need for change. In a classroom scene where students struggle to grasp the concept of female empowerment, A Match underscores the prevailing resistance to progress. Yet, through Savita’s journey and her determined spirit, there is a palpable sense of hope and the possibility of transformation. Somalkar’s narrative eloquently captures the tension between tradition and the evolving aspirations of a new generation, making A Match a thought-provoking and moving exploration of contemporary issues in rural India.
