India at Cannes 2015 PDF

MINISTRY OF INFORMATION AND BROADCASTING
Ministry of Information & Broadcasting

Government of India
INDIA
www.makeinindia.com
FILM GUIDE
Government of India

GOVERNMENT OF INDIA
ROOM NO.107, FILMS WING, SHASTRI BHAVAN
DR. RAJENDRA PRASAD ROAD
NEW DELHI - 110 001 INDIA
in partnership with
INDIA FILM GUIDE 2015
Directorate of Film Festivals Federation of Indian Chambers of

Cannes Film Market
Government of India
Commerce and Industry
FICCI Federation House, Tansen Marg
India Pavilion in partnership with
Sirifort Auditorium Complex, New Delhi, India 110001 111 International Village Riviera
August Kranti Marg, New Delhi- 110049 Tel: +91-11-23738760
Tel: 91 11 26499371 www.cci.com
May 14-24, 2015
www.dff.nic.in; www.if .nic.in www.indiaatcannes.com
India at Cannes_Cover_with Spine_new.indd 1 30-04-2015 22:26:20

India_Film_Guide_2015_Pages_1-68.indd 1 05-05-2015 17:13:52
CONTENT
INDIAN FILM
PRODUCTION CENTRES
FILM SECTOR
INITIATIVES
25
INDIAN FILMS AT CANNES
11 69
FILMING IN INDIA 151

NATIONAL FILM
AWARDS
FILMS FOR
SALES AND
SYNDICATION
75
INDIAN COMPANIES AT CANNES
FILM MARKET
101 131
KEY INDUSTRY CONTACT LIST 237

Message
Cannes Film Market 5

Message

Foreword

FILM SECTOR
INITIATIVES
Film Policies of the Ministry of

Information and Broadcasting

Film Sector Initiatives
Ministry of Information and

Broadcasting Government
of India
he Ministry of Information and Broadcasting, through
T 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
Ministry of Information &
Broadcasting to have access to free ow of information. It is the apex
Government of India body for formulation and administration of rules, regulations
and laws for the same. It also caters to the dissemination of
SPOT INFORMATION knowledge and entertainment to all sections of the society,
+ 91 11 23384995 striking a careful balance between public interest and
WEBSITE commercial needs, in its delivery of services. It is responsible
for international cooperation in the elds of mass media, lms
www.mib.nic.in
and broadcasting and interacts with its foreign counterparts
EMAIL on behalf of Government of India.
moib@nic.in
jsfilms.inb@nic.in The Mandate of the Ministry Includes
News Services through All India Radio (AIR) and
MINISTER FOR
INFORMATION & Doordarshan (DD) for the people including Indians
BROADCASTING abroad.
Shri Arun Jaitley Development of Broadcasting and Television
MINISTER OF STATE FOR Development and promotion of lm industry.
INFORMATION & Organization of lm festivals and cultural exchanges.
BROADCASTING
Col. Rajyavardhan Rathore Advertising and Visual Publicity on behalf of the
Government of India
SECRETARY
Bimal Julka Administration of the Press and Registration of Books
Act, 1867 in respect of newspapers.
JS FILMS
K. Sanjay Murthy Administration of the Cinematograph Act, 1952 in
respect of certication of lms.
DIRECTOR (DFF)
C Senthil Rajan
India Film Guide 2015 12

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
Directorate of Film Festivals
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.

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
single window service for promoting i. Act as a facilitation point for the lm
A lm shooting is all set to become

operational shortly. As part of providing
a single window mechanism for facilitating
producers in assisting them to procure
requisite permission.
ii. Disseminate information on shooting
shooting in India, the Ministry of Information locations and the facilities available with
& Broadcasting, Government of India is the Indian lm industry for production/
proposing to set up a Film Facilitation Unit. post production.
The National Film Development Corporation
iii. Work closely with State Governments in
(NFDC) has been nominated as the executing
assisting them to set up similar facilities.
agency for setting up of/operating a Film
Facilitation Unit. The primary tasks of the Unit The Film Facilitation Unit would also develop
would be:- 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

also include information on state-wise lmmaker would submit the script to the
facilities like transport, hospitality, medical Ministry of Information & Broadcasting for
services and other local information for the clearance as before.
applicants. Effectively, the single window system for
After making an application online, lmmakers lm shoot permission will enable lmmakers
can expect clearance anytime from six to eight to pursue their respective cases with the
weeks, depending on the shooting location -- Ministry of Information & Broadcasting and
shooting in border areas usually takes a longer not deal with various Ministries, departments
processing time due to security reasons. The and agencies.
The Ministry of Information & Broadcasting is in

the process of setting up the Film Facilitation Unit
which will also include an online portal which will
be the resource base and also answer queries of line
producers and lm producers.

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
p and other purposes. In India, it is
the
t Ministry of Information and Broadcasting,
Government
G of India.
The
T Agreements identify who the co-producers
can
c be, the minimum and maximum permissible
share
s of each co producer, possibility of co
producers
p from third countries, provisions
for
f sharing of revenue, copyrights and prizes.
They
T also provide for contribution by the co-
ndia
di has
h signed
i d A Audio-Visual
di Vi l co-
I
producer of each country and incurrence of
production agreements with the UK, production and post-production expenses,
Canada, Germany, Brazil, Italy, Spain, shooting etc in each country for artistes.
Poland, China and New Zealand. We have an Many countries provide access to public funds
existing Protocol with France. Negotiations or subsidized funds to lmmakers. The lms
are on to nalise Co-Production treaties with co-produced under these agreements are also
Korea, Australia among other countries. These eligible for such nancing. Collaborations for
agreements are expected to help producers to an Indian lmmaker would include knowledge
pool in their resources and gain wider market and use of different technical expertise and
accessibility. processes, exchanges of styles of lmmaking,
It is now possible for lmmakers of different sales and distribution of lms by a local expert
countries to come together and make lms and the advantages of being a National Film in
under bilateral coproduction agreements. a European country. This will come along with
New markets and audiences would be available the international exposure the project would
for the product, especially if collaborations receive in terms of publicity and audience.
and partnerships are between nationals of The Government of India does not provide
different countries. direct public funds or subsidized co-production.
Each agreement identies the Competent However, lmmakers can apply for nancial
Authority for the country concerned to whom support of co-production lm projects through
applications are made for approval as co National Film Development Corporation.

Co-production agreements help

producers to pool in their resources
and gain wider market accessibility.
India has a huge advantage of being part of equipment needed for lmmaking. These are
a growing lm industry and a huge audience. coupled with the comparatively low costs of
The other benets are that the co-production lmmaking in India. Also India possibly has
is treated exactly like a national lm and is the largest variety of locations available in one
eligible for the National Film Awards and country from snow clad mountains to hills
the Indian Panorama section of IFFI. Also, and valleys, rivers, seas and beaches to green
co-production opens up the Indian consumer pastures and deserts. An extensive road, rail
market to the foreign producer. and air travel network exists. The television
There is a large pool of technical talent and cable penetration is also very deep.
available across the sub-continent along Text of Indias co-production agreements:
with the sophisticated infrastructure and p. 179 onwards

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 Stringent Penalties for piracy
S contemporary Cinematograph
Government is proposing to bring in
amendments to the existing Cinematograph Act
Act. Piracy is one of the major concerns of the lm
industry. The proposed amendment seeks
to address this issue effectively by bringing
with a view to enable the Act to meet the modern in stringent penal provisions for copy right
requirements of certication process. Duly taking violations.
into consideration recommendations of experts
Online Certication Process- The existing online
and stake holders, the amended Act is expected
mechanism of Central Board of Film Certication
to address, among others, the following :-
would be strengthened and the entire certication
Composition of Advisory panels and their process right from application stage to issuance
selection process; of certicate, would be made online. This
Guidelines for certication; would ensure a user friendly and transparent
Classication of certication of lms in a atmosphere. The online process would also
more modern and universal manner; ensure effective monitoring and timely delivery
of service.
Enhancing the jurisdiction of the Appellate
Tribunal.
Bringing in stringent penal provisions for copy
right violations.

Taking piracy out

of Indian cinema
The Indian government has been taking a lot of
initiatives to do away with piracy.
inistry of Information & A dedicated web portal.
M 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
Dissemination of multi-media campaigns on in the curriculum of the schools and
piracy through audio-visual media, internet, colleges.
print media, etc.
Road shows /Street Plays on creating
Training programmes and workshops to awareness among society.
sensitize police, judicial, administrative
Programme on building awareness in
ofcials, multiplex and cinema hall owners
Schools & Colleges through Debate/Essay
about the Copyright Act.
writing/painting competitions.
Conduct of research on the effects of
This scheme will be implemented through
piracy and to enable development as
leading business chambers like FICCI,
well as implementation of public-private
ASSOCHAM, CII and others.
strategies to combat piracy.

National Museum of
Indian Cinema
The museum will be a ready-reckoner of the history of
Indian cinema during the past 100 years.
he National Museum of Indian Cinema The "National Museum of Indian Cinemas" will
T is a prestigious project of the Ministry

of lnformation & Broadcasting, Govt.
of India and is executed by Films Division, the
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
premium media unit of the Ministry. and evaluate the development of cinema as
a medium of artistic expression not only in
The Purpose and Objectives of the Museum the country but also in all parts of the world.
are to encapsulate the socio-cultural history The Museum is developed in two phases. The
of India as revealed through the evolution Phase-I is housed in Gulshan Mahal a heritage
of cinema; To develop as a research centre building and the Phase-ll is a new building
focusing on the effect of cinema on society; adjoining Culshan Mahal which will have two
To exhibit the work of the noted directors, state-of the art theatres apart from display
producers, Institutions etc for the benet galleries. The Phase-l is ready and Phase-II
of visitors/lm enthusiasts; To arrange will be ready by the end of 2015.
seminars, workshops for lmmakers & lm
The museum will be a ready-reckoner of
students; To generate interest in the future
the history of Indian cinema showcasing
generation in the eld of lm movement.
technological aspects of production and

screening of lms, as well as its social Many famous studios of yesteryears like
aspects during the past 100 years. Through its Mehboob Studios, RK Studios and Prasad
interactive galleries, it will trace the evolution Studios have donated equipment to the
of celluloid from the Lumiere Brothers, Raja museum. Some private collectors too have
Harishchandra onwards, and showcase Indian come forward to donate items. The Films
cinema in three stages - silent era, golden Division, which was set up in 1941, to produce
era and the modern era. It will portray the short lms to disseminate information during
footsteps taken by Indian cinema, from the war time, has also displayed old Eymo and
period of silent lms to the studio period, and Mitchel cameras, recording equipment etc. Also
then recreate the times when stars and mega of interest are some even older instruments
stars dominated the silver screen. that created an illusion of movement, which
An Advisory Committee headed by renowned were precursor to the movie camera.
lmmaker Shyam Benegal has guided the NMIC has been curated by the National
Films Division in establishing the museum. Council of Science Museums, Kolkata, under
Visitors can also watch clips of old classics on a the Ministry of Culture, which manages
number of monitors or listen to rare lm music 55 various kinds of museums in the country.
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.

National Film
Heritage Mission
National Film Heritage Missions aim is to restore and
archive lms for preservation and dissemination of
Indian lm cultural heritage.
he Ministry of Information & The following are the objectives of the NFHM:
T Broadcasting has launched the National

Film Heritage Mission (NFHM) to digitize
best of Indian cinematic works and archive
To undertake lm condition assessment of
the lm collection and to ascertain the left
over life of the lm.
them for the benet of future generations.
Preventive conservation of lm reels.
NFHM is now functional to take care of
2k/4k picture and sound restoration of
digitization and restoration of lm heritage
landmark feature lms and shorts of
and is being implemented by National Film
Indian cinema and recording of new
Archive of India, Pune.
picture and sound inter-negatives of each
NFHMs aim is to restore and archive lms for lm.
preservation and dissemination of Indian lm
Digitization of feature lms and shorts.
cultural heritage. It will restore and conserve
precious and classic lms of the past 100 Construction of archival and preservation
years of Indian cinema. facilities for preservation of material
restored under NFHM in dust free, low
NFHM will also conduct training, workshops
humidity, and low temperature conditions
and courses in eld of conservation,
at NFAI campus, Pune.
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.

National Centre for

Excellence in Animation,
Gaming and Visual Effects
The National Centre for Excellence will establish and
implement benchmarks in teaching and training stan-
dards of the sector and provide a leadership vision to the
whole industry.
he National Centre for Excellence in It will also enable and facilitate access to
T Animation, Gaming and Visual Effects

is soon to be established through the
public-private partnership mode for providing
resources for students to learn and develop
their creative and cognitive skills. Regular
interactions will be conducted with the
skilled workforce for the industry. academia, private and corporate community to
The National Centre for Excellence would create synergies.
establish and implement benchmarks in Flexible and innovative education structure
teaching and training standards of this sector will be devised to enhance creativity and
and provide leadership role to the whole commitment that curriculum will be at par with
industry. the Global Standards. The centre wil provide
The centre aims to become a self sustainable, continuous support to animation, gaming &
creativity driven and industry friendly institution visual effects community to provide HR (efcient
that promotes high quality education and human resource) platform for related projects
research Above all, it will act as an incubation center
With an intention to provide skilled work force, for developing competencies and support
it aims to offer a competitive edge to Indian commercial ventures. It will also engage
Industry by developing skills for original IP private players in appropriate roles involving
content. active participation resulting in growth of the
institute.
Since the successful students would be working
in the industry, the latter will be in a position to Towards maintaining high standards in
take up Co-Production projects in collaboration imparting education in the eld of animation,
with foreign companies. Besides, the proposed gaming and visual effects as well as bringing in
centre will provide research platform for best administrative practices, it is proposed that
projects. the centre would be set up with the help and
support of the industry and other stakeholders.

INDIAN FILM
PRODUCTION
CENTRES
Top lmmaking centres of India

Indian Film Production Centres
INDIA FACTS
THE OFFICIAL PORTAL ADMINISTRATIVE
http://india.gov.in DIVISIONS
29 States and
7 Union Territories
POLITICAL SYSTEM
Democracy LANGUAGES
Hindi, English and 21 other
national languages.
POPULATION
1.2 billion
AREA
India measures 3,214 km from
north to south and 2,933 km
CAPITAL from east to west with a total
New Delhi 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 India Film Guide 2015

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 TELEPHONE CODE

Rupee +91
TIME ZONE INTERNET

IST .in


CUTTACK

FILMMAKING
CENTRES OF
INDIA
ndia is probably the worlds most Mumbai, regarded as Indias movie capital,
I culturally and linguistically diverse

nation. Its people speak 22 different
languages, besides hundreds of dialects. Is it
hosts the Hindi lm industry that has a pan-
Indian footprint. Marathi-language lms are
also produced in the city that is inextricably
any wonder then that India is a land of many intertwined with the history of Indian cinema.
distinct cinematic traditions? Chennai, Kolkata, Hyderabad, Thiruvanan-
The 1000-odd movies that the country annually thapuram, Bangalore, Bhubaneswar and
produces are made in a number of languages, Guwahati are the other major Indian cities
each with its own distinct literature, history, where lms are produced.
theatre and music. While the distribution of these so-called
Indian lms are produced in several centres regional lms is largely limited within the
around the country. Each of these lmmaking territories for which they are made they do
cities serves as the hub of cinema in one not have the nationwide reach of Bollywood
prominent language. blockbusters they add immensely to the
depth and range of Indian cinema.
Text: Saibal Chatterjee

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


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 and emotionally satisfying entertainment to
T the heart of the Indian movie industry,

producing nearly 200 lms a year in the
Hindi language.
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, There have of course been occasions when
produces Marathi-language lms, which, in these two separate approaches have merged
the silent era and beyond, thrived in the hands in the same lm and resulted in timeless
of pioneering stalwarts like V Shantaram and classics such as Mother India, Mughal-e-
Bhalji Pendharkar, among others. Azam, Deewar and Lagaan.
A large chunk of the Hindi lms produced in The A-list Mumbai cinema stars, objects of
Mumbai constitute what is usually described adulation around the country and by the Indian
as Bollywood, a label used for an old cinematic Diaspora, power the mainstream Bollywood
tradition built on a formulaic and crowd- industry.
pleasing mix of melodrama, romance, moral
Mumbai played a key role in the evolution of
conict and music.
parallel lms in the late 1960s and 1970s,
This extravagant form of storytelling is thanks to the efforts of directors like Shyam
extremely popular in the other lmmaking Benegal and Govind Nihalani.
centres as well. However, it is by no means
Its lmmakers also drove the global spread of
the only kind of cinema that emerges from
the Bollywood narrative idiom in the aftermath
Mumbai.
of major commercial successes in the past
The city has always had two distinct streams decade and a half.
of lmmaking one aimed at providing glitzy


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 Hindi versions of Tamil box ofce hits as well
C the hugely successful and productive

Tamil movie industry, which has, over
the decades, given Indian cinema a few of its
as bilingual productions mounted in Chennai
have been successful around India ever since
1948s Chandralekha opened the sluice-gates
biggest and most abiding stars. for nationally distributed lms from this part
of India.
The Tamil movie industry has seen lm
production since the mid 1910s. It has The dominant strain of Tamil movies, like that
constantly kept pace with the growth of the of Hindi popular cinema, hinges on the crowd-
rest of Indian cinema. pulling power of its male superstars, notably
veterans Rajinikanth and Kamal Haasan.
In fact, at several junctures in its history,
it even set the pace for others to follow, But in the past as well as in recent times, the
especially in matters of technology and lm industry has seen a steady output of lms
production practices. from young directors working outside the
conventional star system with great success.
Tamil cinema has a following not only in the
state of Tamil Nadu but also in the other For audiences around the country, Mani
southern states of India, besides among Ratnam, who also makes lms in Hindi, is one
the Tamil expatriate community across of the better known Chennai directors.
the world.


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 But it is for the critically acclaimed works
B over for the celebrated masterpieces of

Satyajit Ray, is produced in Kolkata from
studios located largely in Tollygunge in the
of three masters Ray, Ritwik Ghatak and
Mrinal Sen that Kolkata enjoys global fame.
Directors such as Tapan Sinha and Tarun
citys southern suburbs. Majumdar built their careers around lms that
struck a ne balance between artistic merit
Many of the pioneers of early Indian cinema
and commercial potential.
worked in this city in the silent era. In fact,
Hiralal Sen is known to have made lms here More than their counterparts in any of the other
well before Indias ofcially recognized rst lm production centres of India, screenwriters
full-edged ction lm, D.G. Phalkes Raja and directors in Kolkata, especially those that
Harishchandra, was screened in Mumbai. work in the non-mainstream sphere, continue
to draw inspiration primarily from literature.
Commercial Bengali cinema has thrived right
since the silent era, barring a few troughs in It is a tradition that dates back to the silent
the 1980s and 1990s caused by the death of era, a period during which Bengali cinema,
its most luminous superstar Uttam Kumar unlike other cinemas that were beginning
and the retirement of his on-screen partner to take roots in that period, produced social
Suchitra Sen. satires and dramas adapted from literary
works rather than mythological epics.


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, In terms of artistic quality and global
H which is one of the most prolic and

commercially consistent of all the
cinemas of India.
recognition, Telugu cinema may lag behind
lms made in Malayalam and Tamil, but it
continues to be the most robust of the southern
industries.
Between Telengana and Seemandhra, the two
separate states that the erstwhile Andhra Hyderabad has some of Indias best lm
Pradesh has recently been split into, there are production studios. They have been set up
2800 movie halls, the highest in any single by established names of the Telugu movie
region of India. industry men such as B. N. Reddy, L.V. Prasad,
Akkineni Nageswara Rao and D. Rama Naidu.
On several occasions in the last decade, Telugu
lms accounted for more releases in a year Until about three decades ago, large sections
than cinema in any other Indian language, of the Telugu movie industry operated out of
including Hindi. Chennai. But today, Hyderabad is where all the
Telugu moviemaking action is focused.
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.


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 and directors such as Adoor Gopalakrishnan
T Trivandrum) is the capital of the

southern Indian state of Kerala. The city,
along with Kochi, serves as the nerve-centre of
and Shaji N. Karun and the late G. Aravindan
are feted at lm festivals around the world.
When Malayalam cinema began to assume
cinema in Malayalam.
the proportions of a full-edged industry
Although lms were made in the state in the post-Independence, it was headquartered in
silent era, cinema in Kerala was late to ourish Chennai. It was only by the late 1980s that
and at the time of Indias Independence in it moved completely to its current location in
1947, only a handful of Malayalam lms had Thiruvananthapuram.
been produced.
Like the other cinemas of India, Malayalam
But when the movie industry in this part of the movies are divided between a popular genre
country took off in the 1950s, it not only quickly and a socially relevant strand.
caught up with the rest of Indian cinema, it
Cinema from Kerala gained national and
also established itself at the forefront of the
international prominence, riding on the lms
Indian parallel cinema movement.
made by Adoor and Aravindan in the 1970s
Malayalam movie superstars Mohanlal and and 1980s. The tradition of making realistic
Mammootty are known across the country and meaningful cinema continues to this day.


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 was enriched by the work of directors like B.V.
I are made in the Kannada language. The

rst Kannada lm was made in the talkie
era, and the industrys growth was steady until
Karanth, Girish Karnad and Girish Kasaravalli.
In 1970, Samskara, based on a novel by
celebrated writer U.R. Ananthamurthy and
the late 1940s.
directed by Pattabhi Rama Reddy, inaugurated
The 1950s marked the advent of Dr. the parallel cinema movement in Karnataka.
Rajkumar, whose popularity as a lead actor
While alternative cinema has continued to
in mythological epics helped Kannada cinema
thrive in the state, commercial cinema, too,
achieve new heights.
has sustained itself despite not quite enjoying
The 1970s and 1980s are generally regarded the nancial clout of Tamil and Telugu lms.
as the golden era of Kannada cinema, which


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 audience base, but it has failed to build on
T the base of Bhojpuri cinema, which is

produced largely in and for eastern Uttar
Pradesh and western Bihar.
the opportunities to break into the national
mainstream.
The last couple of decades have seen a major
The rst-ever Bhojpuri-language lm, Ganga spurt in the production of Bhojpuri lms, but
Maiyya Tohe Piyari Chadaibo (Mother Ganges, these have all been run-of-the-mill potboilers
I Will Offer You a Yellow Sari), was released designed for an audience that seems to be
only in the early 1960s. But the industry grew undemanding and easy to please.
steadily as the demand from people who speak
In parts of India where Bhojpuri speakers
the dialect in India and elsewhere increased.
live and work, these lms continue to be
Bhojpuri cinema, which also caters to third exceedingly popular. But since most of these
and fourth generation migrants in Surinam, lms are made on tight budgets and follow
Mauritius, Trinidad & Tobago, Fiji and Guyana, rushed production timelines, they tend to be
has its own star system and a committed rather low on technical nesse.


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

Cuttack.
The rst Odia-language lm was made in
lms. His rst production, Nua Bou, created a
sensation all across the state of Odisha.
Odia cinema developed its own idiom in
1936, but until the 1950s only a handful of subsequent years thanks to the efforts of the
more titles were produced. husband-wife team of Gour Prasad Ghosh
and Parbati Ghosh. The duo produced several
Back then, the Odia lm industry did not have
National Award-winning lms, including the
production facilities of its own. Films in the
epochal Kaa.
language had to depend on Kolkata, which made
movie-making in Odisha difcult and unviable. Other production houses took roots in the
1970s, including Diamond Valley Productions,
In the late 1950s, the rst cooperative venture
set up by entrepreneur Sarat Pujari.
to produce, distribute and exhibit Odia lms was
set up by Krushna Chandra Tripathy. In 1975, the state government stepped in to
promote cinema by setting up the Odisha Film
The organization was named Utkal
Development Corporation. Five years later,
Chalachitra Pratisthan, and it produced
the Kalinga Studio came up with the support
several lms in the 1960s that gave Odia
of Chennais Prasad Studios.
cinema a distinct identity.
Odisha currently produces an average of
In 1961, another production house, Pancha
20 lms a year.
Sakha, was set up by amateur artiste Dhira


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 north- Bollywood-inspired Assamese melodrama
A eastern Guwahati, are a constant

presence in Indias National Awards.
Yet the lm industry in Assam remains
that found takers among the mass audience
in the state. But the trend was short-lived.
Despite the effort of the pioneers and the
commercially unviable.
work of their successors in the 1950s and
Constantly under the shadow of Bollywood 1960s (Bhupen Hazarika, Nip Barua, Pudum
lms, the state has not been able to develop Barua), Assamese cinema has been dragged
a distribution and exhibition system that can down by the paucity of exhibition outlets.
prop up locally made lms and make them
Despite all the odds, the names of the late
viable.
author and lmmaker Bhabendra Nath Saikia
At the turn of the millennium, a ray of and the still-active Jahnu Barua shine bright.
hope had emerged in the form of a spurt in
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.

INDIAN FILM
SECTOR
Higlights from
FICCI-KPMG Report 2015

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
014 could well be termed as the year of the rest of the lms took a beating either in
2 introspection and reality check for the

Indian lm industry. During the year,
the gap between box ofce collections of the
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,
top 10 lms and the contribution of the rest of were unable to nd buyers.
the industry widened further. The category-A The exhibition sector took bold strides in
lms with top league actors continued to expanding its footprint both organically
perform well at the box ofce, however the and through acquisitions. Many players have
same was not true for lms which lacked adopted the organic route to build presence in
both strong content and a top league actor new markets, especially in the tier II and
to attract audiences to the theatres. Industry
tier III cities. The year also saw changes to
discussions indicate that 2014s content did
the list of the largest exhibition chains with the
not deliver at par with 2013. While there were
emergence of a new player, Carnival Cinemas.
strong content driven lms this year which
Carnival acquired three cinema chains-
delivered high returns on investment, the
HDIL Broadway, Big Cinemas and Stargaze
proportion of such lms was less than the
Entertainment. Further, consolidation has
previous year. With rising average ticket prices
brought multiple benets to the otherwise
and availability of alternate entertainment
fragmented industry.
platforms, the audience today seems to have
become more discerning when it comes to Now, lm makers have a wider reach and at
watching lms in theatres. the same time interact with relatively lower
number of exhibitors. The industry is soon
Television broadcasters became more
expected to see national distributors playing a
strategic with their lm acquisition budgets,
far greater role in release of a lm. Additionally,
signicantly impacting the Cable & Satellite
consolidation is stimulating growth in the in-
rights (C&S) of most lms. While prices of
cinema advertisement platform. Advertisers
category-A lms continued to hold ground,
are now offered a far greater reach and

Film industry performance
Revenues (INR 2014 2015p 2016p 2017p 2018p 2019p CAGR

Billion) 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 14.7 15.5 17.6 19.2 20.8 22.5 8.8%
Rights
Ancillary Revenue 8.4 10.3 12.5 15.4 18.3 21.8 21.0%

Streams
Total 126.4 136.3 155.6 170.7 186.3 204.0 10.0%
Source: KPMG in India analysis
impact with national chains having a pan India address the fundamental issues plaguing the
presence. The industry is witnessing changes protability of the sector and what measures it
in in-cinema advertisement business models can take to build sustainable business models.
with contracts shifting from lump sum deals The lack lustre performance of the two key
to pay per contact which is considered as a revenue segments for the industry: theatrical
better metric for measurement of the efciency and cable and satellite rights has sent many
of the medium.For exhibitors the obvious lm makers back to their drawing boards to
benet of economies of scale is being reected reassess the viability of their future projects.
through rationalisation of cost structures.
The industry (production houses) needs to
take a step back and deliberate on how it can

India has 7 screens

INDIAN M&E per million people in
comparison with
INDEX 125 per million in the US.
$1.5 826
When you look at the
worldand pick your
billion TV Channels marketsyou have to
2014
believe India is one of
Box Office
161million the major markets of the
Collections TV Households
1st century
Bob Bakish, president
1500 of Viacom International
Media Networks
Feature films
produced in India
Bollywood is Indias
biggest cultural
275million 175 million entertainment export
Grammy-nominated DJ
Internet Mobile and producer Paul van
User base Internet Users Dyk
TV revenue in India is
960 million set of to grow at a 14%
annual CAGR in the
Mobile Subscribers years 2014 through 2018
according to KPMG

Facebook has 125

million users in India, INDIAN M&E
more than 100 million
utilise the platform on
their mobile phones at
least once a month.
INDEX
Television Films
India will surpass the
Grew by Grew by
US to lead as the largest
Facebook user base on 14% 10%
mobile by 2017
Currently there are 175 Radio Print

million mobile Internet Grew by Grew by
users in India. It is
expected to grow to 457 18% 8%
Million users by June
2019 according to KPMG
Animation&VFX Gaming
338% growth in Grew by Grew by
ecommerce ad-spends
(INR 5 bn) on digital 13% 22%
platforms
Digital Advertising
Search and display lose Grew by
share to Social (18%),
Mobile (14%), and
Video (12%)
45%

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
he Indian lm production landscape is on pre-production activities such as concept
T highly fragmented with a combination of

few renowned indigenous lm production
houses, international studios and numerous
development, audience research, etc.
Even many of the traditional family run
production houses now seem to understand
independent lm producers. the importance of bringing in processes and
The industry has witnessed the entry of new structure to the movie making business and have
players such as Multi Screen Media (under the upped their act to become more professional
banner MSM Motion Pictures) in 2013 and Zee and corporatised in their operations.
Entertainment Enterprises Ltd. (through its Increasing corporatisation and professionalism
company Essel Vision Productions) in 2014. in the lm fraternity has started to pave way for
The entry of international studios such as the establishment of lm and entertainment
Disney India, Viacom 18 Motion Pictures and focussed investment funds. 2014 saw launch
Fox Star Studios in the last few years seems of four new venture funds focussing on this
to have made the industry more organised industry.
in the way lms are produced in India by The four new venture funds are Indus Media
bringing in leading industry practices of lm Capital, HBS Raksha Movies Fund, Bend it Media
production from western markets, thereby and Third Eye Cinema Fund (TECF).
increasing efciency and placing greater focus

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
igitisation of screens has allowed becoming a challenge for lms with tight
D distributors to release lms

simultaneously across thousands of
screens, as a result of which almost 60-80 per
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+
cent of theatrical revenues are now collected screens) can be anything above INR200
in the rst week of release,06 compelling million, for a Category B lm it could range
lmmakers to generate enough buzz to attract between INR 150-180 million and for a
maximum footfalls within the rst weekend Category C lm at least INR 100 million.
itself. Given this backdrop, many lmmakers have
Thus, marketing budgets which were negligible started exploring campaign and box-ofce
a decade back, now account for a signicant analytics to gauge the effectiveness of their
portion of the overall cost of production. campaign and take appropriate measures to
Additionally, lm makers now have an maximise the return on investments. Various
elaborate mix of marketing media: television, rms such as IBM, Persistent Systems, Google,
print, radio, OOH, in-cinema advertisements, Prime Focus Technologies mGage, Ormax etc.
social media, live events, merchandising, are now offering solutions especially designed
mobile apps, mobile games, and other digital for the lmmakers to make strategic decisions
media at their disposal, the judicious use about their budgets, conduct costbenet
of which is critical to create the maximum analysis with minimal risks, measure audience
possible impact. Like box ofce collections, engagement across various touch points.
the number of tweets, Facebook likes and The release window continues to play an
YouTube hits have also become an important important role in deciding the release strategy
key performance indicator (KPI) for the movie for any lm. The lmmakers consciously decide
success. to release their lms during festivals,long
Film-based mobile applications and games weekends and summer/winter vacations
have become an emerging trend while city- (school breaks), etc. and avoid clashes with
wise marketing campaigns have almost any major sporting events. For example, only
become the norm. Given the varied number two out of the 20 movies that were released
of marketing and promotional avenues, the during the IPL 2014 performed well at the box
huge P&A (Print and advertising) costs are ofce.

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
014 saw another round of consolidation where there are 125 screens per million
2 with Carnival Cinemas entry into the big

league through three major acquisitions:
HDIL Broadway (10 screens), Reliance owned
people.
Additionally, the screen distribution is also
skewed in favour of urban centres. Mumbai
Big Cinemas (252 screens), and Stargaze and Delhi/UP circuit together constitute
Entertainment from Network18 Media11 (30 approximately 60 per cent of the total box
screens). Other prominent acquisitions included ofce collections for most Hindi lms.
Inox Leisure Ltd. acquiring Satyam Cinemas12
Thus, besides inorganic growth, many
(38 screens) and Cinepolis acquiring Fun
exhibitors are also investing in organic
Cinemas (83 screens). Post consolidation, PVR
expansion especially in tier 2 and 3 cities to
Cinemas continues to be the leading exhibitor
capitalise on the opportunity of lower screen
with 462 screens followed by Inox Leisure
penetration. During the year, leading multiplex
Ltd. with 365 screens and Carnival Cinemas
chains added close to 100 screens. Carnival
with 330 screens. The industry might witness
Cinemas has declared its intention to invest
another round of consolidation soon with the
INR5 billion to establish 500 screens in
major multiplex chains acquiring smaller
Madhya Pradesh.
regional chains.
DOMESTIC THEATRICALS
Even though India leads the world average in
terms of movies produced each year, the gross Domestic theatrical revenues remain the main
under penetration of screens continues to be source of income for movie makers in India.
a cause of worry for the industry as domestic The segment contributes 74 per cent to the
theatricals is the primary source of monetising total industry. In 2014, the overall industry
content for most lms. There are just 7 screens performance was dampened due to the drop in
per million people in India, unlike in the U.S., theatre footfalls in the rst three quarters and
slower growth in average ticket prices (ATP).

The industry is estimated to be worth the total gross collections of an Indian movie
INR126.4 billion in 2014. Though the share of is collected from overseas theatrical compared
other revenue streams is on the rise, domestic to 60 per cent for Hollywood industry.
theatricals is expected to continue to dominate In 2014 Indian lms further increased their
for the next ve years. reach. Hindi lms Bang Bang and PK were
The gross box ofce collections of top 10 released across 800 plus and 6000 screens
Hindi lms in 2014 grew by 2.4 per cent over worldwide in the overseas market. Besides,
2013 collections and 11.7 per cent over 2012 increasing the number of prints in 2014, the
collections. However, for the next 10 lms the industry also added new geographies to its
box ofce collections dropped by 3 per cent distribution portfolio: newer markets included
in comparison to 2013 collections and 11.3 geographies such as Lebanon, Iraq and
per cent for 2012 collections. The trend has Burma.
continued across the board with box ofce Filmmakers and production houses seem
collections of lms ranking 21 to 50 sliding to be looking at overseas theatrical beyond
further compared to previous years (2012 and just an ancillary revenue stream. Premieres
2013). The drop has been extreme in case of at international locations, and tie-ups with
lms ranking 41 to 50 where the total box international agencies have all been exercises
ofce collections of these lms dropped by 48 to increase traction in foreign countries and
per cent in 2014 as compared to 2013. promote Indian lms. Middle East, North
While 2014 has been a lack-lustre year due to America and U.K. are the key markets, and
the poor performance of content, 2015 could together they continue to contribute about 70
also witness similar muted growth due to the per cent to the total overseas revenues.
uncertainty around content which is already in The Middle East market has showcased an
the pipeline and the slow rate of real estate impressive Y-o-Y growth of 25-30 per cent
growth which is expected to impact the while the U.S. market grew at ~5-10 per
delivery of new screens. Additionally, since the cent. In U.K., Indian movies are struggling to
next phase of screen growth is being delivered connect with the third generation of Indian
by tier 2 and tier 3 cities, the ATP growth might diaspora leading to a decline in collections
be a bit slower than historical growth. from the region. The industry is experiencing
However, from 2016 onwards the industry mushrooming demand from new markets
expects to get back on its growth trajectory. such as Japan, China, South Korea and Peru
Taking the above factors into consideration, where lms are distributed with subtitles in
the domestic theatrical segment is expected the native language of those markets. Movies
to touch INR204 billion by end of 2019 and with strong content such as PK, Haider, 2
grow at a CAGR of 10 per cent during 2014- States are performing well with non-Hindi
2019. speaking audiences as well.
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

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
014 was a landmark year for regional experimental lms such as I. The impressive
2 cinema as the number of regional

movies produced reached an all-time
high - around 287 Tamil language movies were
growth of the Tamil industry can be partially
attributed to a number of small budget movies
with good and fresh content, which performed
released in 2014, the number stood at 255 for exceptionally well at the box ofce.
Telugu movies compared to 216 Hindi movies. The Telugu lm industry, which is similar to
At the same time, other regional industries the Hindi lm industry for its dependence on
also saw a steep increase in the production of star power, had a softer year compared to
movies. While the four South Indian markets, its neighbours. While the number of movies
Tamil, Telugu, Kannada, and Malayalam, still produced during the year increased, the
lead the pack, the Marathi and Punjabi lm highest grossing Telugu movie Race Gurram
industries undoubtedly left their mark at the in 2014 collected just INR570 million at the
box ofce in 2014. While the Marathi lm Lai box ofce compared to the highest grossing
Bhaari made with a budget of INR 80 million movie in 2013 which ended by collecting
had a box ofce collection of more than INR INR1.81 billion. The movies Minugurulu and
350 million, the animated Punjabi movie Chaar Manam scored high on the critics list and
Saahibzaade made with an investment of were amongst the 30 lms shortlisted by the
INR200 million generated INR700 million at Film Federation of India (FFI) for the 87th
total box ofce. The Bengali lm industry did Oscar Awards.
not have a great year as the few category-A
Individually, the Tamil industry needs to nd a
lms failed to attract audiences to theatres.
workaround to be able to offer enough cinema
Many domestic exhibitors are now willing to screens to a movie, considering on an average
give more screen space to regional cinema and four to ve Tamil lms get released every
sometimes even prefer a good regional movie week; the Telugu industry which is primarily
over a Hindi movie. Lingaa became the rst dominated by a few top actors needs to widen
Tamil movie to enjoy the widest release across its portfolio to involve new talent. Kannada
5,000 screens worldwide. Besides cashing in and Malayalam lms still lag behind in terms
big at the ticket counter, the Tamil lm industry of content and production values, albeit the
also stood out for its proclivity to produce rise in number of productions in a year.

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 In INR millions
gems outclassed big guns in southern cinema
Bengali lms on the other hand need to cope UAE and Singapore. Lingaa, Kaththi, Jilla,
up with the lack of serious players in the Kochadaiiyaan performed well among the
production space, limited cable and satellite Tamil movies in the US and U.K. markets.
options, very few stars and most importantly Lingaa was released across 200 screens
limited multiplex screening infrastructure. in the US, 85 in England, 50 in France, 20 in
The emergence of successful movies from Denmark, 16 in Germany, 9 in Holland and on
smaller industries is a positive sign; however few screens in Switzerland, Norway, Belgium,
the challenge ahead would be to sustain this and Sweden36 while the Tamil lm I was
growth. released across 5,000 screens in China alone.
OVERSEAS THEATRICALS The Punjabi lm industry is facing challenging
Regional cinema is also now able to make times due to drop in demand from U.K.
bigger inroads in the overseas market, growing However, as an exceptional case, Chaar
in both traditional markets such as the US, Gulf Saahibzaade earned nearly 60 per cent of its
and non-traditional markets such as Japan, total revenue from overseas markets including
France, Denmark, Taiwan, Korea and China. North America, U.K., Australia, and Europe.
The trend of opening up new markets applied Bengali lms are still restricted to lm festivals
to regional lms as well. Kaka Muttai and and art house circuit. Overseas markets
Char Sahibzaade performed extremely well together contribute less than 5 per cent to
in non-traditional markets such as Canada and the total theatricals. Bangladesh market is
New Zealand. considered as a potentially big market for
Tamil lms derive 90 per cent of their overseas the industry however, cracking the market is
demand from four key markets - U.S., Malaysia, proving to be a challenge for the industry.

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
014 was a good year for Hollywood lms franchise movies such as Amazing Spider
2 in India, the gross box ofce collections

of top 10 lms increased from INR3.2
billion (2013) to INR4.2 billion (2014). The
Man 2, Transformers 4: Age of Extinction,
and X-Men: Days of Future Past continued to
perform well at the box ofce and generated
consumption of Hollywood content in India close to INR2.1 billion30 in gross box-ofce
is rapidly changing amongst the audience collections in India.
driven by the youth and emergence of new Though franchise and superhero movies draw
centres in tier2 and tier 3 cities where largely wider audience, small budget movies with
dubbed content performs well. In 2014, 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

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.
Fault in Our Stars (83 screens) and Gone potential and popularity of Hollywood movies
Girl (155 screens), while competing with big amongst the non-English speaking audience
budget Bollywood movies, reported INR52.9 as well. Today, Hollywood movies are being
million and INR34.9 million gross box- dubbed in various Indian regional languages
ofce collections in their respective opening apart from Hindi.
weekends.
Initially aimed at the English speaking Indian
audience, lm studios are now realising the

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
hile revenues from digital delivery digital branded content.
W of videos are still very small, the

industry is not discounting the
future potential and is making investments to
There have been some successful examples
of this already (i) MTV had two web series,
a fashion and lifestyle web series called
capitalise on the potential. Video advertising The Look and a tness web series called
is fast gaining prominence as advertisers are Get Fit in 2014, and (ii) The Viral Fever, a
looking to reinforce their marketing messages YouTube channel debuted a sponsored web
on multiple screens to maximise impact by series called Permanent Roommates, (iii)
integrating video-related advertising into their One Digital Entertainment in association with
digital mix. From the advertisers perspective, Virgin Atlantic Airways and VisitBritain had a
video ads are similar to TV in terms of ability food and travel 20 episode series with Chef
to connect with the consumer but provide the Saransh Goila named The Spice Traveller.
efcacy and direct targeting with the ability to
While so far, monetisation of on-demand
track, measure, analyse and monetise online
content has been through advertising, scope
campaigns in real time.Also, video ads are an
for subscription and pay-per-view revenues
effective way to target the young and afuent
for premium, value-added and exclusive
demographics for whom consumption habits
content is promising. In the medium term, as
have shifted signicantly to digital media.
internet accessibility improves further, there
Social media provides a multiplier effect for
will be increasing demand for customised and
video ads since video ads when done right can
premium content in India. This can make the
get shared multiple times and go viral.
paid model more attractive for the digital video
Besides pure play advertising, platforms and platforms. Further, as observed in developed
advertisers alike are also exploring made-for

VOD Platforms in India
iTunes Store Google Play store

Movies, TV shows, music, games, Movies, TV shows, games, books in
books, podcasts English, French, Spanish and Hindi
40,000+ movie titles and 190,000+
TV shows
Hotstar.com / Starsports.com Ditto TV

TV shows from the Star stable in ~150 live TV channels
seven languages
TV shows from the Zee stable and
~300 movies 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 ~ 3,500 movies, including all of Eros
banner Internationals movies and from
most major studios across Hindi and
Sports including live content
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 ~ 2,000 movies in 13+ languages
TV content primarily from Sony, Big
Magic and library content
Hungama.com Spuul.com
900+ movies in 8+ languages 1000+ movies from most major
production houses in India in Hindi
and regional languages
Hindi and Regional TV content,
primarily from Viacom18

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
markets, there could likely be increasing subscription package costing INR120 (USD 2)
preference for ad-free content on digital has gained signicant traction.
platforms for which users may be willing to One of the primary forces impeding the growth
pay a premium. Increasing disposable income of subscription and pay-per-view revenues is
seem to also be resulting in higher spend on the hassles that customers face while making
entertainment by the growing mid and high payments on digital platforms, even when they
income classes in India, particularly in urban are willing to pay. This is on account of:
clusters.
Q Low credit card penetration
Viewers are expected to be selective in
Q Fear of using netbanking and credit cards
paying for content and are expected to pay as
online due to security threats
long as they see additional value in terms of
exclusivity or timing or availability. This has Q Lack of experience in using e-wallet/m-
been observed in the case of multiplexes and wallet
DTH industry, which have managed to raise As a result, some digital platforms are using the
average ticket prices and ARPUs, respectively, mobile carrier billing for payment collection,
consistently year on year by providing better but the high revenue share expected by Telcos
value. However, a key risk is that consumers for billing is a barrier, especially since unlike in
are becoming accustomed to free content the Mobile VAS space, Telcos do not manage
on digital media, and changing the habit of the delivery channel and customer acquisition,
consumers would be tricky. but only the collection. The TV Everywhere
Currently, existing TV and lm content has services by TV distribution platforms have an
been repurposed for viewing on digital media advantage over other platforms, due to their
but going forward, original content on digital already existing customer billing relationship.
media can drive subscription revenues. Even in a relatively mature market such as US,
Sports can be another key driver for premium TV Everywhere is growing faster than other
subscription. For instance, StarSports.coms video streaming services such as YouTube,
paid streaming for ICC Cricket WC 2015 for a Hulu and Daily Motion.

OVER-THE-TOP DEVICES: THE FUTURE TV and Chromecast or gaming consoles such

TREND as Xbox and PS3. There are already several
For all the convenience and exibility of international as well as domestic devices
streaming content on to smartphones and available in the market at different price
tablets, the viewing experience on a high- points and with different feature sets. While
denition large screen TV will likely remain these devices may not gain mass appeal in
unmatched. While smart TVs/connected TVs India given their high prices, a segment of the
are one way for consumers to watch on-demand audience, is already adopting these devices
content on TVs, globally the market is shifting and the trend is expected to gain traction as
towards over-the-top (OTT) devices/Internet availability of premium quality content on
STBs on account of high cost of replacement digital platforms improves.
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, ac-
cording 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, espe-
cially for ongoing TV shows and live TV streaming that are tak-
ing place on revenue share basis. Even internationally, in spite
of its scale, majority of the content deals for Netix are on a
xed cost basis and content costs constituted over 70 per cent
of revenues for Netix in 2014.

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
CHAUTHI KOOT Regard
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
22 May: 10 pm, Salle Debussy eva@elledriver.eu
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.

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

Un Certain
MASAAN Regard
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.

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

NATIONAL
FILM AWARDS
Winners of the 62nd National Film

Awards for the year 2014

Indian National Film Awards 2014
INDIRA GANDHI AWARD FOR BEST

DEBUT FILM OF A DIRECTOR
BEST
FEATURE Asha Jaoar Majhe (Bengali)
Producer: F.O.R Films Pvt. Ltd.
FILM 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

Court WHOLESOME ENTERTAINMENT
(Marathi, Hindi,
Gujarati &
English) Mary Kom (Hindi)
Producer: Zoo Producer: Viacom 18 Motion Pictures
Entertainment Pvt. Ltd. Director: Omung Kumar
Director: Chaitanya Swarna Kamal and
Tamhane ` 2,00,000/- to the Producer and Director
Swarna Kamal and For an inspiring tale of a woman who becomes a national
` 2,50,000/- each to the icon through her determined pursuit of sporting excellence.
Producer and Director
COURT is a powerful and

stark depiction of the
BEST FILM ON SOCIAL ISSUES
mundaneness of judicial
procedure revealed
brilliantly by the lms
form, forcing us to reect
on the heartwrenching
Chotoder Chobi (Bengali)
insensitivity of institutional Producer: Shree Venkatesh Films Pvt. Ltd.
Director: Kaushik Ganguly
structures.
Rajat Kamal and
` 1,50,000/- each to the Producer and Director
For its empathetic portrayal of marginalized people and their
struggle for a life of dignity.

BEST FILM ON ENVIRONMENT

CONSERVATION/PRESERVATION
Ottaal (Malayalam)
BEST ACTOR
Producer: Director Cutz Film Company (P) Ltd.
Director: Jayaraj
Rajat Kamal and
Ottaal, a visual poem, expresses the beauty and serenity of
the protagonists rural environment and a way of life whose
Nanu Avanalla value is measured by the poignancy of its loss.
Avalu (Kannada)
Vijay BEST CHILDRENS FILM
Rajat Kamal and
` 50,000/- Kaakkaa Muttai (Tamil)
For his subtle and Producer: Grass Root Film Company
nonstereotypical playing Director: Manikandan M
of a woman trapped in a &
mans body, portraying Elizabeth Ekadashi (Marathi)
a gamut of emotions as
Producer: Essel Vision Productions Ltd.
s/he struggles through Director: Paresh Mokashi
confusion, rejection and
Swarna Kamal and
humiliation to nally
chart her own course
(Cash component to be shared between lms)
with condence and
dignity. 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.

BEST ACTRESS
BEST CHILD
Queen (Hindi)
ARTIST
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)
Jigarthanda (Tamil)
J. Vignesh
Bobby Simhaa
AND
Rajat Kamal and
Ramesh ` 50,000/-
Rajat Kamal and For an engaging portrayal of a dreaded Maa don who plays
` 50,000/- (Cash both the villain and the comic with a rare amboyance and
component to be shared) abandon.
For their portrayal of
inseparable siblings
living in a slum who
BEST SUPPORTING ACTRESS
innocently struggle with
rare dignity to acquire
what attracts them
in this vast market of
products unleashed by
a liberal economy only
Pagdi The Honour (Haryanavi)
to realise the harsh Baljinder Kaur
reality of invincible class Rajat Kamal and
boundaries. ` 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.

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 Uthara Unnikrishanan (For the song Azhagu)
(Tamil)
Rajat Kamal and
Vivek Harshan ` 50,000/-
Rajat Kamal and For evoking an emotional resonance through the purity and
` 50,000/- innocence of her voice.
For structuring the
different narratives of
raw cruelty and urban BEST CINEMATOGRAPHY
cunning that eventually
intermingle with
positive and humourous
overtones through
skillful editing.
Chotushkone (Bengali)
Sudeep Chatterjee
Rajat Kamal and
` 50,000/- each
For exhibiting a wide spectrum of space and time while
effortlessly knitting the emotional fabric of the lm.

BEST SCREENPLAY
BEST MAKE-UP i) Screenplay Writer (Original)

ARTIST Chotushkone (Bengali)
Srijit Mukherji
Rajat Kamal and
` 50,000/-
Chotushkone for the masterful telling of a taut suspense
thriller which weaves a sinister web around the journey and
Nanu Avanalla lives of four egotistical characters.
Avalu (Kannada)
Nangaraju & Raju ii) Screenplay Writer (Adapted)
Rajat Kamal and Ottaal (Malayalam)
` 50,000/- Joshy Mangalath
For the realistic creation Rajat Kamal and
of gender duality in ` 50,000/-
a character through Ottaal for beautifully transposing Anton Chekovs short
different phases of life. story onto a canvas of nature that enhances the shades of
the original.
iii) Dialogues
BEST COSTUME Haider (Hindi)
Vishal Bhardwaj
DESIGNER
Rajat Kamal and
` 50,000/-
Haider for the multi layered and resonant dialogues that
evoke angst and passion with crispness and brevity.
Haider (Hindi)
Dolly Ahluwalia
BEST PRODUCTION DESIGN
Rajat Kamal and
` 50,000/- Nachom IA Kumpasar (Konkani)
For capturing the essence Aparna Raina
of the characters and
Rajat Kamal and
moods with creative
` 50,000/-
ourish.
For convincingly recreating spaces from a different era and
with minute attention to detail.

BEST LYRICS
BEST MUSIC Saivam (Tamil)

DIRECTION (Azhagu)
NA. Muthukumar
Rajat Kamal and ` 50,000/-
i) Songs For embodying the world as seen through the eyes of a child
using common place images to make an appeal to an adult
Haider world.
(Hindi)
Vishal Bhardwaj BEST AUDIOGRAPHY
Rajat Kamal and
` 50,000/- i) Location Sound Recordist
For developing the Khwada (Marathi)
conict of the inner and Mahaveer Sabbanwal
outer landscape through
haunting music. Rajat Kamal and
` 50,000/-
Khwada for its excellent live sound quality which skillfully
captures all the ambient sounds with the right tonal
ii) Background balance.
Score
ii) Sound Designer
1983 (Malayalam))
Asha Jaoar Majhe (Bengali)
Gopi Sunder
Anish John
Rajat Kamal and
` 50,000/- Rajat Kamal and
` 50,000/-
For maintaining the tempo
of the lm with an in-sync Asha Jaoar Majhe for creating a brilliant soundscape which
background score. 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.

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.

BEST ASSAMESE FILM
BEST HINDI FILM Othello

Producer: Artha Films
Director: Hemanta Kumar Das
Rajat Kamal and
Queen For its tangential evocation of the Shakespeare play as

it explores mistrust and prejudice in a society ridden with
Producer: Phantom political turmoil.
Films Pvt. Ltd. & Viacom
18 Motion Pictures
Director: Vikas Bahl BEST BENGALI FILM
Rajat Kamal and
` 1,00,000/- each to the Nirbashito
Producer and Director
Producer: Kaushik Ganguly Productions
For a delightful portrayal Director: Churni Ganguly
of a young girl who
emerges from her Rajat Kamal and
cocoon of difdence and ` 1,00,000/- each to the Producer and Director
middleclass mores to For its poignant articulation of the suffocation one
discover the pleasure experiences when exiled in a land that is not ones own, as
and fulllment of a life a price that is paid for asserting ones right to freedom of
lived on her own terms. 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.

BEST MALAYALAM FILM
BEST KONKANI
FILM Ain
Producer: 1: 1: Enternatments
Director: Sidhartha Siva
Rajat Kamal and
Nachom IA ` 1,00,000/- each to the Producer and Director
Kumpasar For its gently nuanced narrative in which a carefree young
Producer: Goa Folklore man embraces responsibility and compassion for the lives
Productions of others.
Director: Bardroy
Barretto
BEST MARATHI FILM
Rajat Kamal and
` 1,00,000/- each to the
Producer and Director Killa
For its nostalgic recovery Producer: JAR Pictures & M R Film Works
of a distinctive musical Director: Avinash Arun
legacy, as told through Rajat Kamal and
the rollercoaster lives ` 1,00,000/- each to the Producer and Director
of its practitioners, that
has remained unsung For its warm portrait of a young boy as he emerges from the
despite its inuence upon shadows of dislocation and loss in an unfamiliar environment
Bombay cinema. to embracing what life has to offer.
BEST TAMIL FILM BEST ODIYA FILM
Kuttram Kadithal Aadim Vichar

Producer: JSK Film Corporation Producer: Mohapatra Movie Magic Pvt. Ltd.
Director: Bramma.G Director: Sabyasachi Mohapatra
Rajat Kamal and Rajat Kamal and
` 1,00,000/- each to the Producer and ` 1,00,000/- each to the Producer and
Director Director
For the pervasive empathy with which For its vibrant portrayal of a tribal
it examines the guilt and the anger that community whose enabling humanism
follows upon a school teachers impulsive shows a way out of pettiness and
slapping of a student. prejudice.

BEST TELUGU FILM
BEST PUNJABI Chandamama Kathalu

FILM
Producer: Working Dream Production
Director: Praven Sattaru
Rajat Kamal and
Punjab 1984 ` 1,00,000/- each to the Producer and Director
Producer: White Hill For its skilful interweaving of stories featuring a variety
Production India Pvt. Ltd. of characters bound together by a common anxiety about
securing their future.
Director: Anurag Singh
Rajat Kamal and
` 1,00,000/- each to the
Producer and Director BEST RABHA FILM
For its searing portrayal
of how ordinary lives Orong
and simple dreams are
Producer: Suraj Kr. Duwarah, Aucto Creation
shattered in a time of
militancy. 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.

BEST NON FEATURE FILM
SPECIAL
Tender is the Sight
MENTION
Producer: Films Division
Director: Torsha Banerjee
Swarna Kamal and
Ain ` 1,50,000/- each to the Producer and Director
(Malayalam) For its sensitive and lyrical portrayal of ten-year-old
Musthafa Hassirbullah, who, though visually challenged, creates a
symphony of sounds. The lm captures his universe, his life
CERTIFICATE and his talent, softly and gently.
For the minute and
nuanced manner
in which he assays BEST DEBUT FILM OF A DIRECTOR
the imperceptible
transformation of a
carefree youth into a Goonga Pahalwan
compassionate and
responsible young man. Producer: Drishti Media
Director: Mit Jani, Prateek Gupta & Vivek Chaudhary
Nachom IA Rajat Kamal and
Kumpasar ` 75,000/- each to the Producer and Director*
(Konkani)
Palomi Ghosh For its fun, yet mature portrayal of its protagonist, a champion
at the Deaf Olympics. It pointedly questions the politics that
CERTIFICATE impede this capable athletes route to the Rio Olympics.
For her extraordinarily
energetic performance
as a girl whose infectious BEST ANTHROPOLOGICAL /
passion for singing and ETHNOGRAPHIC FILM
love comes at enormous
personal cost.
Qissa e Parsi : The Parsi Story
Killa (Marathi)
Bhootnath Producer: Public Service Broadcasting Trust
Returns (Hindi) Director: Divya Cowasji & Shilpi Gulati
Parth Bhalerao Rajat Kamal and
` 50,000/- each each to the Producer & 50,000/-
CERTIFICATE Director*
For lovable portrayals For its light-hearted yet comprehensive telling of the story
with rare aplomb of of Indias much loved community, the Parsis. It explores
an impish and caring their history, the philosophy of their faith, their enterprise
child in both Killa and and their way of life, with delight and laughter.
Bhootnath Returns.

BEST BIOGRAPHICAL/ HISTORICAL

RECONSTRUCTION
BEST FILM ON
SOCIAL ISSUES Aamaar Katha : Story of Binodini
Producer: Films Division
Director: Tuhinabha Majumdar
Rajat Kamal and
Cant Take This ` 50,000/- each to the Producer and Director
Shit Anymore For its stylistic and poetic portrayal of the 19th century theatre
Producer: Bhagirathi actress Binodini Devis autobiography.
Films
Director: Vinod Kapri
For incisively highlighting BEST ARTS / CULTURAL FILM
the acute desperation
of rural women and the
problems they face from
the lack of basic and
Kapila
essential facilities for Producer: Films Division
sanitation.
Director: Sanju Surendran
Rajat Kamal and
Daughters of ` 50,000/- each to the Producer & Director
Mother India
For its unique and expressive rendering of Kapilas sheer
Producer: V2 Film & artistry over Kudiyattam, the worlds oldest theatrical art
Design Pvt. Ltd. form.
Director: Vibha Bakshi
BEST PROMOTIONAL FILM (to cover
Rajat Kamal and tourism, exports, crafts, industry etc)
` 50,000/- each to the
Producer & Director
(cash component to be
shared) Documentation of Clay Image Makers
of Kumartuli
For explicitly and
determinedly turning the Producer: Indira Gandhi National Centre for the Arts
spotlight on the burning Director: Ranajit Ray
issue of rape in the
country and the brutal Rajat Kamal and
mentality that drives it. ` 50,000/- each to the Producer & Director
For its extensive study of the craft and community of the
clay makers in the context of changing times.

BEST EXPLORATION/ ADVENTURE FILM

BEST (TO INCLUDE SPORTS)
ENVIRONMENT
FILM INCLUDING Life Force Indias Western Ghats
AGRICULTURE Producer: Grey Films India Pvt. Ltd.
Director: Nallamuthu Subbiah
Rajat Kamal and
` 50,000/- each to the Producer & Director
I Cannot Give
For taking the viewer deep into the Western Ghats and
You My Forest 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 Producer: Films Division
empathetic exploration Director: Haobam Paban Kumar
of the tribal communities
in Rayagada, Orissa, who Rajat Kamal and
derive their sustenance ` 50,000/- each to the Producer & Director
and identity from the For its quiet and fair-hearted investigation of the shermen
forest. 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 Rajat Kamal and ` 50,000/- (cash
communicating essential information to component to be shared)
children to protect themselves from sexual
BEHIND THE GLASS WALL For its
abuse.
exhaustive exploration of the world
and challenges of the autistic and their
caregivers.

BEST ANIMATION FILM
BEST SHORT Sound of Joy

FICTION FILM Producer: Aura Cinematics
Director: Sukankan Roy
Animator: Rishi Sanay
Rajat Kamal and ` 50,000/- each to the Producer, Director
Mitraa and Animator
Producer: Athaansh For its owing and engaging animation style in telling the
Communications stories from Vivekanandas childhood and its emphasis on
developing the power of concentration.
Director: Ravindra
Jadhav
Rajat Kamal and
SPECIAL JURY AWARD
Producer & Director
For its empathetic A Poet, A City & A Footballer
portrayal of its pivotal Producer: Films Division
characters sexual
orientation, and the Director: Joshy Joseph
question of freedom Rajat Kamal and
around it. Shot in ` 50,000/-each to the Producer and Director
monochrome, the lm
adds to the antiquity for For demonstrating the power of cinema in weaving together
the era it is set in. 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.

BEST CINEMATOGRAPHY
BEST DIRECTION Aamaar Katha: Story of Binodini

Indraneel Lahiri
Rajat Kamal and ` 50,000/- to Cameraman
For its stunning and sensual visual imagery that brings the
story of Binodini alive.
Aaranyak
Renu Savant
BEST AUDIOGRAPHY
Swarna Kamal and
` 1,50,000/-
Tender is the Sight
For its existential
denition of layered Audiographers: Anindit Roy, Ateesh Chattopadhyay, &
thoughts and emotion Ayan Bhattacharya
that move through a Rajat Kamal and ` 50,000/-*
reective search to end
in an ironic arrival into The lm travels through the imaginary line of manifest and
the real. 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, For its gritty story and compelling treatment
a young girl in Bihar, and her innocent but of a voyeuristic teenager and the darkness
ironic understanding of death. 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.

BEST EDITING BEST NARRATION /

VOICE OVER
Tigress Blood Nitya Kalyani Oru

Andi Campbell Waite
Mohiniyattam Patham
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 For the depth of its research and its poetic
cinematic arrangement of their outer rendition of the history of Mohinyattam
spaces. across the mighty empires along the
riverbanks of Tungabhadra to Thanjavur.
BEST WRITING ON CINEMA
BEST BOOK ON BEST FILM

SPECIAL MENTION
CINEMA CRITIC
Silent Cinema: Pride of Tamil Tanul Thakur

(1895-1930) Cinema (1931- Swarna Kamal and
Author: Pasupuleti
2013) ` 75000/- to the Critic:
Purnachandra Rao G. Dhananjayan Tanul Thakur
Swarna Kamal and Only Certicate Tanul Thakurs work is like
75000 to the author a breath of fresh air. In
G. Dhananjayans Pride of
brevity lies the strength
Publisher: EMESCO Tamil Cinema deserves
of Thakurs analysis of
BOOKS careful consideration
crests and troughs of
for the sheer expanse of
Swarna Kamal and Indian cinema. Without
the work. The book is a
` 75000 to the Publisher: being didactic, Thakur is
painstaking effort which
able to provide a different
Pasupuleti Purnachandra will have a relevance many
perspective to seemingly
Raos work on silent cinema years down the line.
disparate elements and
commands attention. It is
string them together in a
as worthy of a scholars
lucid fashion.
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.

DADASAHEB
PHALKE AWARD
WINNERS

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 B.N. Sircar Prithviraj Kapoor

1969 1970 1971
Pankaj Mullick Sulochana (Ruby Myers) B.N. Reddy

1972 1973 1974

Dhiren Ganguly Kanan Devi Nitin Bose

1975 1976 1977
R.C. Boral Sohrab Modi P. Jairaj

1978 1979 1980
Naushad Ali L.V. Prasad Durga Khote

1981 1982 1983

Satyajit Ray V. Shantaram B.Nagi Reddy

1984 1985 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 Ashok Kumar Lata Mangeshkar

1987 1988 1989

A. Nargeswara Rao B.G. Pendharkar Dr. Bhupen Hazarika

1990 1991 1992
Majrooh Sultanpuri Dilip Kumar Dr. Rajkumar

1993 1994 1995
Shivaji Ganesan Kavi Pradeep B.R. Chopra

1996 1997 1998

Hrishikesh Mukherjee Asha Bhosle Yash Chopra

1999 2000 2001
Dev Anand Mrinal Sen Adoor Gopalakrishnan

2002 2003 2004
Shyam Benegal Tapan Sinha Manna Dey

2005 2006 2007

V.K. Murthy D. Ramanaidu K. Balachander

2008 2009 2010
Soumitra Chatterjee Pran Gulzar

2011 2012 2013
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
Shashi Kapoor Ten Lakhs) and a shawl.
2014

PEOPLE

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.

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

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.

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 post-
production of our latest German-Indian-US co-production LOEV.

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.

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.

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

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.

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.

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 all-
rights 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.

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.

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.

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.

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.

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.

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

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

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.

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).

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

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...

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).

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

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 Sub-
Continent which can be exploited in All the Platforms in India & Sub Continent.

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 Co-
Productions 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.

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 sub-
continent has seen blockbusters like Transformers Dark of the Moon, Mission Impossible: Ghost Protocol,
Madagascar 3, Hugo, Paranormal Activity, G.I. Joe: Retaliation and Jack Ryan: Shadow Recruit to name a
few.
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 .

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 non-
prot 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.

MORE INDIAN COMPANIES AT CANNES

Vimal AGARWAL
AARUSHI INVESTMENTS Director
aarushi1@yahoo.com
Surendra SINGH
AEON PICTURES INDIA Director / Business
aeonpix@gmail.com
Ishan SAXENA
B4U Vp Acquisitions
ishan@swordshinvestments.com
S. Thangaraj
Chennai International Film Festival Director
Festival thangaraj_icaf@hotmail.com
Reghu DEVARAJ
CONSULAT GNRAL DE Attach Audiovisuel
FRANCE (INDE) reghu.devaraj@diplomatie.gouv.Fr
Kavi JUMANI
EMPIRE NETWORKS Managing Partner
empiremediaindia@gmail.com
Gopakumar Balakrishnan NAIR

GBN SPACES Production
info@gbnspaces.com
Dwiti VIKRAMADITYA
KALINGA TV Director
dwiti.vikramaditya@gmail.com
WHITE STRIPES Yash SHAH

(ENTERTAINMENT DIVISION Group Director
OF DIL LTD.) yashshah@ytgroup.co.in
Yash SHAH
YT GROUP Group Director
yashshah@ytgroup.co.in

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

SMILE FILMS Producer-Festival Director
smilelms.india@gmail.com
Vikram LAMBA
SPLIT IMAGE PICTURES PVT
Director
LTD vikramlamba@gmail.com
Sapna BHATIA
STILL WATERS MEDIA PVT
Director
LTD sapna.bhatia@tvnewsinternational.com
Phule SUCHETA
SUCHETA PHULE
Writer / Director
PRODUCTION Suchetaphule.h@gmail.com
Chalasani SESHU
SWAPNA CINEMA Producer
dutt.priyanka@gmail.com
Pravin GANDHI, Director

VENDHAR MOVIES
pravingandhi2014@gmail.com

FILMS
Indian Films for Sales and Syndication

at Cannes Film Market 2015

Indian Films for Sales & Syndication
INDIAN PANORAMA
FILMS 2014
OTHELLO
Seventy-two-year-old ex-revolutionary Bankim Bhatta is suffering
from 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

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

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

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,

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

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 forty-
ve 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

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 inter-
religion wedding escalates into a huge issue as she is chased by the
police, the media, and a bunch of social activists and she runs away
from the city and becomes the most wanted all over the state.
Director: Bramma G | Producer: J. Satish Kumar (JSK Film

Corporation) | Cast: Master Ajay, Radikha Prasiddha, Sai Rajkumar,
Pavel Navageethan
2014 | Tamil | Digital | Colour | 120 min
Indian Panorama section at IFFI Goa showcases

the best of films from across India

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

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

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

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.
Director: Rajamouli Sri Sailasri | Producer: Prasad Devineki

(Arka Mediaworks), Shobu Yarlagadda (Arka Mediaworks)
Cast: Prabhas Uppalapati, Rana Daggubati , Tamannaah Bhatia,
Palais K 16:00hrs 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.
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 |
Palais I 16:00hrs 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.
Director: Remy Kohli | International Sales:

shobuy@arkamediaworks.com | Rectangle Media Pvt Ltd
Palais K 20:30hrs Hindi, English - Drama, Thriller, 135 Minutes

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
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
Palais B 11:30hrs 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
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,
Palais I 18:00hrs 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

ROAR: TIGERS OF THE SUNDARBANS

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
LERINS 1 17:30hrs 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
Director: Madhureeta Anand | Producer: Tilak Sarkar (Starre

Movies), Q Celine Loop (Overdose Joint), Madhureeta Anand (Ekaa Films)
GRAY 5 12:00hrs Cast: Meenu Hooda, Ridhima Sud, Kuldip Ruhil | International
Sales: celine@overdosejoint.in
Hindi - Social Issues, Crime, Bollywood - 108 Minutes

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.
Director: Rajsingh Zanane | Producer: Rajesh Acharya (Nanoland

Ltd.), Omkar Acharya (Nanoland Ltd.) | Cast: Tushar Pandey, Isheta
Sarckar, Dipti Joshi, Ashish Kakkad, Vikas Rathod |
GRAY 5 14:00hrs 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.
Director: Sabal Singh Shekhawat | Producer: Sabal Singh

Shekhawat | Cast: Rahul Khanna, Arjun Mathur, Shivani Ghai,
GRAY 5 18:00hrs Monica Dogra |
International Sales: info@montecristoentertainment.com
English - Family, Drama - 103 Minutes

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

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.
Director: Sucheta Phule | Producer: Amit Hundekari |

GRAY 5 18:00hrs 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

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.
Director: Pavan Kaul | Producer: Kaveeta Oberoi Kaul (Yogananda

Films / Kriya Movies) | Cast: Victor Banerji, Leonidas Gulaptis |
International Sales: info@euramcopictures.com
PALAIS C 10:00hrs 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

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.
Director: Dibakar Banerjee | Cast: Sushant Singh Rajput |

PALAIS J 17:30hrs 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

THE ANSWER
PALAIS C 14:00
PIKU
Piku (Deepika Padukone) juggles her life as a successful architect and

being a single parent to her 70-year old father Bhashkor Banerji (Amitabh
Bachchan). Getting a life of her own, just 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
PALAIS H 15:30hrs 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
www.indiaatcannes.com
for more film listings

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.

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

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
GATEWAY TO HEAVEN
2014 CHINA 2013
THE AMAZING TRIP TO ALONE INTERPRETER OF
INDIA FRANCE MALLDIES
CHINA POINT BREAK NEW YORK, USA
BOLLYWOOD DREAMS GERMANY DR. CABBIE
ISRAEL HOMELAND SEASON-4 CANADA
HAJI BACKPACKER CALIFORNIA I ORIGINS
INDONESIA PORNU DAIGHO PREM NEW YORK, USA
DHAKAR CHELE KOLKATA KAHANI-2 VICEROYS HOUSE
MEAY BANGLADESH UNITED KINGDOM
BANGLADESH LONDON HAS FALLEN NIGHT FALLS IN INDIA
IN HIGH PLACES UNITED KINGDOM MADRID, SPAIN
UNITED KINGDOM ROMEO VS JULIET BASMATI BLUES
THE MAN WHO KNEW BANGLADESH USA
INFINITY MASAAN TEEN TAAL
UNITED KINGDOM FRANCE UNITED KINGDOM
BEYOND THE KNOWN UN PLUS UNE VICENTE FERRER
WORLD FRANCE SPAIN
NEW ZEALAND COW BOYS BABY SELLERS
THE AMAZING RACE FRANCE NORTH VANCOUVER (BRITISH
CHINA HAMSAFAR KHORSHID COLUMBIA)
CHINA IRAN (UAE) SHARBAT
LION DHEEPAN NEW YORK, USA
AUSTRALIA FRANCE A NEW LIFE
SENSE 8 BLACK DIAMOND GERMANY
UNITED KINGDOM FRANCE MILLION DOLLAR ARM
PIXELS DEV BHOOMI CALIFORNIA, USA
CALIFORNIA SERBIA BIYER PHANDE
DHAKA, BANGLADESH

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 THE SECOND BEST PARCHED

FRENCH EXOTIC MARIGOLD HOTEL USA
THE HUNDRED FOOT UNITED KINGDOM IRYU (MEDICAL DRAGON)
JOURNEY VAGATOR MIXER JAPAN
UNITED KINGDOM USA FLIPOUT
THE OTHER SIDE OF THE AFRAID UNITED KINGDOM
DOOR USA UTOPIA
UNITED KINGDOM TRACES OF SANDALWOOD UNITED KINGDOM
SIX SUSPECTS SPAIN KABULY PATHAN
UNITED KINGDOM THRONGDRONG AFGHANISTAN
BEST CHANCE CANADA JET TRASH
GERMANY ME & YOU VS THE WORLD UNITED KINGDOM
MUMBAI LOVE INDONESIA
PHILIPPINES EVEREST
THE COOK UNITED KINGDOM
GERMANY

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 com-
pany to help you manage your project.
WHAT SHOULD ACCOMPANY YOUR temporary import from customs duty.

APPLICATION? Your permission to shoot will normally not
You need to send us a simple letter, take more than three weeks to process.
telling us of your intention to shoot in The permission letter issued by the
India, mentioning the dates of shooting, Government of India will facilitate your
particulars of the cast and crew, and your permission from other local authorities,
chosen locations. Please address your which may, in some cases, need to be
letter to the relevant address a month obtained directly from these authorities.
before your planned shooting schedule, In case any living personality is portrayed
and enclose four copies of the nal, in the lm as a Character, we suggest that
detailed shooting script, a draft/cheque you share the script with that personality
for US$ 200 drawn in favour of Pay& or his/her legal heirs, before beginning the
Accounts Ofcer, Ministry of I&B, (MS), shooting, and obtain a No Objection Letter.
New Delhi (that is a fee for scrutiny of the This letter will expedite the clearance of
script), detailed shooting locations and your application, and also guard against the
particulars regarding the cast and crew possibility of any defamation or libel suits.
coming to India. No fee is required for
If you propose to shoot your lm as a
shooting documentaries in India.
Co-Production, a copy of the agreement
Should you wish to bring your own shooting between your company and the Indian
equipment, please send us a list of the party indicating the role of each party,
equipment to be temporarily imported. This its responsibilities and liabilities, must
will enable us to make a recommendation accompany the application.
to the customs authorities to exempt the

Filming in India
Do your homework
before picking your
facilitator for your
lm project.
If your lm requires shooting in the scenic you to get local clearances, and provide an
but sensitive areas of Jammu & Kashmir, interface with any local institutions. Where
North Eastern India or border belts, your a liaison ofcer is so attached to the
application will be considered for specic shooting team, the Government of India
approval in consultation with the Ministry will bear his expenses. In exceptional
of Home Affairs. In such cases, you would cases you may need to show the completed
need to allow more time to process your lm to a representative of the Government
application. of India, in India or in an Indian Mission
WHAT WILL THE INDIAN MISSION abroad, before its release anywhere in the
IN YOUR COUNTRY DO FOR YOU world. This requirement will apply only to
lms made on subjects of political, religious
Do submit the detailed particulars of all
or socio-cultural sensitivity, and is focused
the members of the shooting team to the
on ensuring that the lm has been shot in
Indian Mission in the country from which
accordance with the scrutinized script and
they would be departing for India at the
that the lm has nothing objectionable
time, indicating your intention to shoot in
from the point of view of presentation of
India. Our mission will issue them visas in
a correct and balanced perspective on the
the normal course.
topic covered.
OTHER THINGS THAT YOU MAY WANT
During the shooting of the lm if it is felt
TO KNOW
that any material changes or deviation
An expert from a panel constituted by us from the approved script is necessary,
for this purpose will scrutinize your script. permission may be taken from this Ministry
If considered necessary, to facilitate the before shooting these scenes.
shooting, a liaison ofcer may be attached
to a lm shooting team. This ofcer will help

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 ar-
rival 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 objection-
able 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

Filming in India
WHAT THE PROFESSIONAL SERVICES Travel and Accommodation: Access to any

COMPANY WILL DO FOR YOU part of the country with all sorts of boarding
Do your homework before picking your and lodging facilities.
facilitator for your project. Legal procedures/Government permissions:
They will be able to assist you with Locations: 1. Legal contracts and agreements
Locations across the country 2. Clearing and forwarding/customs
Talent: Actors, models, extras, singers, 3. Film nance and insurances
dancers, etc.
Please provide the Information and
Technicians: Art directors, cameramen, Broadcasting Ministry with the following
costume designers, directors, editors, information while making your enquiry:
lyricists, make up stylists, music directors,
Name of the Company
photographers, script writers, sound
Applicants name and designation
recordists, etc.
Your contact address, email, telephone
Equipment: 35mm/16mm cameras (ARRI and
nos
PANAVISION), HD camera, jibs and cranes,
Project title and language
dollys and panthers, steadycams, lenses and
lters, lighting equipment and lights, motion Nature of project (Film/TV/Docu/Ad Film)
control rigs and gribs, generators, follow cars, Synopsis in English
DVD hard disk based sound recorders, mikes Duration of lming in India
and booms, etc.
No. of crew travelling to India
Post production facilities: Digital Intermediate
Equipment and gear to be brought
(D.I.), editing (linear and non-linear), grading
into India.
at telecines, processing and printing, visual
effects, computer graphics, animation (2D, 3D,
Claymation), sound mixing (rerecording).
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

Filming in India
Ladakh Karnataka
INDIAN FILM SHOOTING LOCALES
If the Himalayas can be likened to Houses the Silicon City of India. And
an oyster, then Ladakh is the pearl. a whole array of health spas. A range
Nestled in the womb of the Himalayas, of architecture depicted through
the main attraction is the 9-storied its palaces, temples, mausoleums,
royal palace styled on the lines of the monuments and ruins. Sanctuaries,
famous Potala Palace of Tibet. There national parks and waterfalls. Endless
are the trekking trails, the temples of beaches, forests, scenic hills and
Chamba and Jo Kang Gompa and the modern cityscapes.
Zanskar Valley.
Puducherry New Delhi
Ang Lees Oscar winning lm Life of Delhi has been the capital of successive
Pi was shot partly in Puducherry (in dynasties and was the Jewel in the
South India). That has transformed Crown of the British Empire. The city has
Puducherry into a paradise for a continuous living history of more than
3000 years and has been one of the most
lmmakers. A French colony until 1954,
important cities of India. This eternal city
this coastal town retains a number of offers a sumptuous banquet of history
colonial buildings, churches, statues, and heritage, seamlessly in tune with its
and systematic town planning and is transformation as one of the worlds fastest
dubbed The Europe of India. growing and largest metropoles today.

Filming in India
Gujarat Maharashtra

Gujarat offers beautiful landscapes of various India in microcosm, Mumbai, or Bombay
natures, it is interspersed with culture, as it was once known, provides an excellent
tradition and festivities. Gujarat has a diverse backdrop for the race that always nishes in
portfolio of landscapes, from the hills of the future. Slick and bright urban exteriors
Saputara, to the white desert in Kutch, from that have dark underbellies interrupted
the jungles of Gir to virgin beaches. Such by colours that connect across time. Busy
landscapes, coupled with some beautiful bustling daytimes with brightly lit nights that
heritage structures, make Gujarat a unique blink and shimmer to a heady beat of people
destination for lmmakers. These locales and machines, avant garde and artless,
cater to every mood for every canvas. incessantly on the move.
Kolkata Himachal Pradesh
The British are long gone but the colonial From hills to mountains, capped by
inuence still remains, in the look of its snowy peaks; punctuated by passes
buildings and monuments. Interiors and and glaciers. Dotted by rich ora and
mindsets that havent morphed with the abundant variety of wildlife with 90%
times yet co-exist happily with today. The
of its seven million population people
quaint hand-pulled rickshaws, the Chinese
district. The boatsman taking people across residing in rural areas. Himachal
the Hoogly as modern vehicles criss-cross Pradesh has an abundance of parks, rich
the Howrah Bridge. with ora and fauna and regions that
experience temperature extremes.

Filming in India
Goa Rajasthan
The Cannes of India. Currently known Rajasthan is lmmakers paradise

as the host city of International Film and a dream destination for lm
Festival of India. A land of sun, sea shooting - inspiring forts, majestic
and sand; feni, fun and frolic. Beaches mansions, havelis of architectural
galore, churches and saints, music and splendour, heritage hotels, picturesque
dance, festivals and carnivals. Where surroundings, wilderness of silence.
people enjoy music and dance and raise The State has a lm-friendly policy and
a toast to celebrate every occasion. encourages lmmakers both within
and outside the country.
Varanasi Kerala
Its university is the seat of knowledge Kerala, commonly referred to as Gods

and ancient wisdom and the burning own country, never lets one down. A small
ghats along the river Ganga the stretch of land, with its cool mountains in
apparent route to salvation and the east, rolling hills in the middle which
ultimately reach out to the west to the
eternal peace. Spiritual and mystic
long stretches of pristine, untouched
moods meld with stark realities of beaches. This unmatched visual feast is
everyday existentialism and the frolic complemented by its famous backwaters
of innocence. sandwiched between the sea and the land.

Filming in India
Hyderabad Jharkhand

Ramoji Film City in Hyderabad is the worlds Jharkhand is a nature lovers paradise. It is
largest integrated lm studio complex and one home to countless waterfalls -- Hundru Falls,
of Asias most popular tourism and recreation Lodh Falls and Johna Falls. The States locales
centers. Hyderabad features many heritage include forests, hills, valleys, waterfalls,
buildings constructed during Qutb Shahi wildlife, history, culture, charming towns and
and Nizam eras, showcasing Indo-Islamic vibrant cities. It is an unexplored paradise and
architecture inuenced by Medieval, Mughal will be lmmakers delight for new locales.
and European styles. Hyderabad houses the
Telugu lm industry which produces over 200
lms each year.
Kashmir Madhya Pradesh
The Dal Lake dotted with innumerable houseboats Madhya Pradesh is called the Heart of
and the distant snow covered mountains. Each India because of its location in the centre
houseboat with its own interior layout. Gulmarg, of the country. The State has everything --
Sonmarg and Pahalgam at higher levels. A spectacular mountain ranges, meandering
warm and outgoing local populace adding its rivers dotted with hills and lakes and miles
own unique colour to the surroundings. A hint of and miles of dense forests offering a unique
uneasiness sometimes. And a visual of debris of and exciting panorama of wildlife in sylvan
violent terror attacks contrasts with the colours
surroundings. Innumerable monuments,
and culture of a peace-loving people and the
exquisitely carved temples, stupas, forts &
beauty of the general environment.
palaces are dotted all over the State.

FILM
BODIES
Ministry of Information and

Broadcasting, Government of India

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 Cultural Exchange Programme and
D by the Government of India in 1973 to

organize International and National
Film Festivals within the country. DFF facilitates
organizing screening of Indian lms through
the missions abroad.
Selection of Indian Panorama.
Indias participation in Festivals abroad,
Participation in International Film Festivals
arranges programmes of foreign lms in India
abroad.
and Indian lms abroad and holds the National
Film Awards function. Special lm expositions on behalf of the
Govt. in India.
As a vehicle of Cultural Exchange, DFF promotes
International friendship, provides access to Print collection and documentation.
new trends in world Cinema, generates healthy These activities provide a unique platform for
competition and, in the process, helps to improve an exchange of ideas, culture and experiences
the standards of Indian Films. between India and other countries in the eld
These objectives are served by organizing the of cinema. It also provides a powerful platform
following activities.; for Indian cinema and opens up commercial
opportunities for Indian lms. Within the
The International Film Festival of India.
country, the latest trends in global cinema are
The National Film Awards and the made accessible to the general public, lm
Dadasaheb Phalke Award. industry and students.
DFF provides a powerful platform for

Indian cinema and opens up commercial
opportunities for Indian lms

Indian Film Bodies
National Film Awards

he National Film Awards is one of the most appreciation of this art form through publication
T prominent lm award ceremonies in India.
Established in 1954, it aims at encouraging the
of books, articles, reviews, etc.
The National Awards, along with Indian Cinemas
production of lms of aesthetic and technical highest honour, Dadasaheb Phalke Award, are
excellence and social relevance contributing to presented by the President of India in a solemn
the understanding and appreciation of cultures of function in the presence of the Union Minister
different regions of the country in cinematic form of Information and Broadcasting, Chairpersons
and thereby also promoting integration and unity of the three juries, representatives of Film
of the nation. Federation of India and Confederation of All India
The awards also aim at encouraging the study Cine Employees and senior ofcials. The 62nd
and appreciation of cinema as an art form National Film Awards for the year 2014 were
and dissemination of information and critical 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

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 on discovery, promotion and support of
O of the Directorate of Film Festivals is

organizing the annual International
Film Festival of India (IFFI). The IFFI aims at
lmmaking of all genres thus bringing
together the diversity of forms, aesthetics and
contents.
providing a common platform for the cinemas The Festival is an assembly of people and
of the world to project the excellence of the nations where the worlds greatest lm
lm art; contributing to the understanding artistes hold hands with emerging talents on
and appreciation of lm cultures of different an equal footing. It is also a forum for lm
nations in the context of their social and professionals to communicate face to face
cultural ethos; and promoting friendship and with lm lovers around the world.
cooperation among people of the world.
IFFI aims to nurture, encourage and inspire
Nothing exemplies the Indian notion of Indian cinema and introduce it to the world
non-violence and peaceful coexistence as outside as well as the many audiences that
Vasudhaiva Kutumbakam (the entire world is coexist in this vast and diverse country. With
a one big family), the phrase in which the IFFI rapid technology changes, the importance
and its theme are rooted. of this festival will only grow as it will bring
The 1st edition of IFFI was organized by the viewers and lmmakers together and expose
Ministry of Information and Broadcasting, them to emerging technologies and the
Government of India in 1952. Since its challenge of the emerging new media.
beginnings in 1952 the IFFI has been the New interactions are envisaged; new strategies
biggest event of its type in India. In 2004 the would be formulated so that with each edition
IFFI was moved to Goa. of IFFI, the viewing experience is enhanced,
The IFFIs founding principles centre 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.

Indian Film Bodies
IFFI, Goa
FIAPF-recognised International Film Festival vice versa.The vision of a National Cinema
of India, which steps into its 46th year in 2015, Collective has also been instrumental in
was initially established as part of the national framing a National Cinema, the kind of cinema
cultural pedagogic project in tandem with the reecting the values and aesthetics the nation.
Nehruvian vision of promotion of art and culture A total of over 315 lms from 80 countries
in independent India. were screened during the festival. The Russian
The mission was to create a seminal event Film "Leviathan" has been awarded the Golden
to showcase alternate cinema and also to Peacock at the 45th International Film Festival
introduce Indian Cinema to the world and 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

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 languages and emanate from diverse cultural
C an autonomous body under the Ministry

of Information & Broadcasting,
Government of India. CFSI was constituted
regions within India. Several stalwarts from
the Indian lm industry have directed lms
for CFSI and many of its lms have won
in 1955 to make cinema for children that is prestigious international and national awards.
both entertaining as well as educative. Since CFSI promotes lms that provide healthy
then CFSI has been producing, exhibiting and wholesome entertainment for children
and distributing lms, serials, animations & to broaden their perspective and encourage
documentaries as well as numerous other them to reect on the world around. With an
activities to strengthen the childrens lm enviable catalogue of 250 lms in 10 different
movement in India. languages, CFSI remains the prime producer
CFSI remains the prime producer of childrens of children's lms in South Asia. We also
lms in India and has created some of the most organise lm screenings across the country,
delightful childrens content in the country. reaching out to approximately four million
Since prot is not the only motive, CFSI is able children annually.
to support young talented lmmakers and CFSI is committed to strengthening the
their imaginative lms that would otherwise children's lm movement within India and
not nd other commercial producers. promoting Indian produced children's lms
CFSI lms always encourage children to across the globe. CFSI also conducts a world
reect upon and engage with the world around renowned biennial International Childrens
them. These lms are made in several Indian 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

Indian Film Bodies
International Childrens
Film Festival India
nternational Childrens Film Festival India (ICFFI),
I 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
SPOT INFORMATION:
than one hundred thousand children. Hundreds of lm + 91 22 2352 2870
professionals from across the world meet in Hyderabad,
WEB SITE: www.cfsindia.org
Andhra Pradesh.
EMAIL: festival@cfsindia.org;
The 19th edition of 'The Golden Elephant,' will take marketing@cfsindia.org;
place from November 14 - 20. The lms produced
CEO: Shravan Kumar
between August 2013 to July 2015 are eligible for
FOCUS: To strengthen children's
participation in Competition Section of the Festival. A
lm movement in India.
Selection Committee of experts from the lm world and
ADDRESS:
allied elds will preview the lms received for different
Children's Film Society India,
sections of the Festival and select for festival screening.
8th Floor, Films Division Complex
The last date for call of entries will be 31st July 2015.
24-Dr. G. Deshmukh Marg,
For further assistance contact Festival Coordinator
icf@cfsindia.org Mumbai-400 026 (India)

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 The External Publicity Division of Ministry of
T established in 1948 to articulate the

energy of a newly independent nation.
For more than six decades, the organization
External Affairs, Govt. of India, distributes
prints of selected lms to Indian Missions
abroad. The lms are also commercially
has relentlessly striven to maintain a record of exploited on Royalty basis by supplying to
the social, political and cultural imaginations overseas video /TV networks.
and realities of the country on lm. It has Films Division has 10 Distribution Branch
actively worked in encouraging and promoting Ofces located in Bangalore, Mumbai
a culture of documentary lmmaking in India (Bombay), Kolkata, Hyderabad, Lucknow,
that respects individual vision and social Chennai (Madras), Madurai, Nagpur,
commitment. Thiruvananthapuram and Vijayawada, which
It is the main lm-medium organization of the cater to over thousands of cinema houses in
Government of India and is well equipped with the country with an audience of about ninety to
trained lm personnel, cameras, recording hundred million per week. Films Division also
and editing facilities. This infrastructure is put supplies CDs to mobile units of the Directorate
to use to assist in-house as well as freelance of Field Publicity and the Departments of
lmmakers and producers. Central as well as State Governments.
In its archives, the Films Division of India Films Division has experienced and trained
holds more than 8000 titles on documentaries, technical and nontechnical persons for
short lms and animation lms. lmmaking, right from script writing to
Some of the lms produced by Films Division distribution. It is well equipped with movie
are telecast on national / local television cameras, video cameras, sound recording and
networks. Educational institutions and social video equipment. It has on-line video editing
organisations all over the country borrow facilities with the latest and best available
lms of Films Division from its branch ofce equipment in the world. These resources
libraries maintained all over India. VCD/DVD of (including video editing) are available to
the lms are sold to interested people, public outsiders also, on rental basis.
and private institutions at nominal cost.

Indian Film Bodies
We need image here
Mumbai International
Film Festival
he Mumbai international Film Festival for Documentary,
T 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
SPOT INFORMATION:
for non-feature genre in the South Asia and Films Division has
+91 22 2355 1301/2351 3633
successfully organized 13 editions of the lm festival. The 14th
WEBSITE: http://www.lmsdivi-
edition of MIFF will be held in January-February,2016 in Mumbai.
sion.org / www.miff.in
The MIFF attracts best lms from all over the world which vie for EMAIL: dgfd@lmsdivision.org
top honours including Golden Conches and attractive cash awards. dglmsdivision@gmail.com
Apart from Indian and International Competition categories, DG: V. S. Kundu
MIFF also have sections like MIFF Prism, Homages, Country
OBJECTIVE: Promoting docu-
Focus, Retros and Special Packages. A veteran from the Indian
mentary lm culture in India
documentary fraternity is honoured with the Dr. V Shantaram
ADDRESS: Films Division, Minis-
Lifetime Achievement in the MIFF. The festival also hosts events
try of Information & Broadcast-
like seminars, work shops, lecture-demonstrations, Master classes, ing, Government of India, 24 Dr.
Producers Forum, Doc edge and Open Forum. G. Deshmukh Marg, Mumbai-26.

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 to support the development, nancing and
I formed by the Ministry of Information and

Broadcasting, with the primary objective of
promoting the Good Cinema Movement.
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 NFDC organizes Film Bazaar(20th - 24th
lms with acclaimed lmmakers like November 2015, Goa Marriott Resort), side by
Ghare-Baire(Satyajit Ray), Gandhi (Richard side the International Film Festival Of India,
Attenborough), The Making of the Mahatma Goa (20TH -30TH November, 2015). The Film
(ShyamBenegal), Salaam Bombay (Mira bazaar is South Asias global Film Market, which
Nair), JaaneBhi Do Yaaro(Kundan Shah), is a platform exclusively created to encourage
MirchMasala(Ketan Mehta), The Lunchbox collaboration between the international and
(RiteshBatra), The Good Road (Gyan Correa), South Asian lm fraternity. The Bazaar is focused
among many others. on discovering, supporting and showcasing
With nancial support extended to more than South Asian content and talent, in the realm
300 lms in 21 regional languages, NFDCs of lmmaking, production and distribution. A
architecture aims towards creating domestic converging point for lm buyers and sellers
and global appreciation of good cinema. from all over the world, the Bazaar also aims
at facilitating the sales of world cinema in the
Apart from its unique positioning in the lm
South Asian Region. The 2014 market saw an
industry as a lm development agency, NFDC
attendance of 1042 delegates from 38 countries.
also functions as a business unit by producing
Film Ofces, a new segment, has been introduced
advertisement campaigns supplemented with
at Film Bazaar 2014, to bring to our lmmakers
360 degrees support to government clients. So far,
the world of picturesque locations that would
NFDC has strategized and developed signicant
t into their scripts and add value to their lms.
communications for the Ministry of Women and
The basic objective of Film Ofces is to connect
Child Development, Ministry of Environment &
Indian State Tourism bodies and International
Forests, Ministry of Rural Development, Ministry
Film Commissions with Indian lmmakers.
of Minority Affairs, Ministry of Consumer Affairs,
The Ofces provide these organizations with
amongst many others.
a platform to showcase their locations and
In addition to production of lms, NFDC has incentives that will benet both the country and
been instrumental in creating an ecosystem the lmmaker.

Indian Film Bodies
Film Bazaar India

FDC organises the Film Bazaar (20th - 24th
N 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
SPOT INFORMATION: +91 22662 88288
fraternity. The Bazaar is focused on discovering,
WEBSITE: http://www.nfdcindia.com/
supporting and showcasing South Asian
content and talent, in the realm of lmmaking, EMAIL: nfdc@nfdcindia.com
production and distribution. A converging MD: Nina Lath Gupta
point for lm buyers and sellers from all over OBJECTIVE: Promote South Asian Cinema
the world, the Bazaar also aims at facilitating ADDRESS:
the sales of world cinema in the South Asian National Film Development Corporation,
Region. Film Ofces, a new segment, has been 6th Floor, Discovery of India Building,
introduced at Film Bazaar 2014, to bring to Nehru Centre, Dr. Annie Besant Road,
Indian lmmakers the world of picturesque Worli, Mumbai 400 018, Maharashtra.
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.

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 great work. Celebrated guest speakers from
T India is designed for a new generation

of storytellers: visual and performing
artists who share a passion for motion
the lm, television, and media industries
frequently visit FTII to share their knowledge
and experience with our students.
pictures and want to learn by making their Learning to be a Director, Cinematographer,
own projects in a hands-on, intensive program. Editor, Sound Designer, Art Director, Actor,
FTII students are not lost in large classes. As Screen Play Writer or Animator is not done
an explicit policy, we limit class size to make by mere numbers. It is done by hands-
individual attention and interaction among on experience, trial and error, feedback and
students and instructors possible. All students correction, and questions and answers.
are encouraged to meet faculty one-on-one for Filmmaking demands the integration of many
consultation throughout their course, creating kinds of knowledge. It is the integration of
an environment that promotes personal knowledge that distinguishes FTII from many
development and learning. other lm schools.
In keeping with this philosophy, FTII takes Women in Film and Television, India (WIFT)
pride in its open door policy of admission. was launched last year at FTII, Pune. WIFT
Students from diverse backgrounds and from India is a global not-for-prot organisation
all walks of life are welcome. This nurtures dedicated to provide a dynamic platform to
a supportive, positive atmosphere conducive facilitate and recognize the achievement of
to the level of collaboration required to do women in lm, TV and multi-screen media.
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

Indian Film Bodies
Satyajit Ray Film and

Television Institute,
Kolkata
A national centre of excellence which offers post gradu-
ate programmes in cinematic studies, the institute is
named after legendary lmmaker Satyajit Ray.
amed after the legendary lm maestro craft and entrepreneurial abilities. By prov-
N Satyajit Ray, the Institute has emerged
as a national centre of excellence which of-
ing their mettle as dedicated professionals,
they have increased the acceptability of cur-
fers post-graduate programmes in Cinematic rent students in the complex and competitive
studies. world of lmmaking.
SRFTI has succeeded in articulating and With state-of-the art facilities, SRFTI pro-
disseminating classical and contemporary vides a creative ambience to inspire the bud-
theories of praxis for creative minds to leap ding lmmakers with an innovative language
into the world of professional practice: be it of artistic expression.
mainstream, parallel/art-house, experimen- And their contribution builds the blocks for
tal or non-ction narratives. The Institute has better Cinema. SRFTI is a member of CILECT,
crossed many milestones towards a new par- International Association of Film and Televi-
adigm of the art and craft of Filmmaking. sion Schools (Centre International de Liaison
SRFTIs alumni have won accolades regularly des Ecoles de Cinma et de Tlvision).
through their mastery over lmmaking. They SRFTI will soon commence three year post
have been trendsetters, changing the course graduate programme in Animation.
of lmmaking through the fusion of thought,
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

CO-PRODUCTION
AGREEMENTS
Between India & other Countries


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 GGovernment off the
h R Republic
bli off I
India
di and
d 2.
2 Audiovisual
A di i l W Work
k means any record d off a
the Government of the Federative Republic sequence of related images, irrespective
of Brazil (hereinafter referred to as the Con- of length, which is intended to be made
tracting Parties) visible as a moving image through the
Seeking to enhance co-operation between use of devices, regardless of the medium
their two countries in the audio-visual area; of initial or subsequent xation, and for
Desirous of expanding and facilitating the Co- which there is an expectation for public
Production of audio-visual works, which may exhibition. It includes lms and video
be conducive to the development of the lm recordings, animation and documentary
and audio-visual industries of both countries productions for exploitation in theatres,
and to the expansion of cultural and economic on television, DVD or by any other form
exchanges between them; of distribution. New forms of audiovisual
Convinced that these exchanges will contribute production shall be included in the present
to the enhancement of relations between the agreement by exchange of Notes between
two countries; the Contracting Parties.
Have agreed as follows: 3. Co-producer shall be:
Article 1 a. As regards the Republic of India:
Denitions (i) Nationals/citizens of the Republic
For the purposes of this Agreement of India;
1. Audiovisual Co-Production means an (ii) Permanent residents of India; and
audiovisual work jointly invested in and (iii) Entities which are established
produced by one or more Brazilian Co- and/or incorporated in India.
producers and one or more Indian Co-
b. As regards the Federative Republic of
producers under a project approved by
Brazil:
both Competent Authorities.

(i) Nationals/citizens of the Federative 3. In considering proposals for the making

Republic of Brazil; of an Audiovisual Co-Production, both
(ii) Permanent residents of Brazil; Competent Authorities shall apply the rules
and and principles set out in this Agreement as
well as in its Annex, with due regard for
(iii) Entities which are established
their respective policies and guidelines.
and/or incorporated in Brazil.
4. Competent Authority means: Article 4
a. On behalf of the Federative Republic of Contributions
Brazil, the Ministry of Culture; and 1. For each Audiovisual Co-Production:
b. On behalf of the Republic of India, a. The performing, technical, craft
the Ministry of Information and and creative participation of the Co-
Broadcasting. producers; and
b. The production expenditure of the Co-
Article 2
producer in the Republic of India or in
Benets the Federative Republic of Brazil shall
1. An Audiovisual Co-Production shall be in reasonable proportion to their
be treated as a national Audiovisual respective nancial contributions and
Work by both Contracting Parties and, as mutually decided by both the Co-
therefore, shall be fully entitled to all the producers.
benets which are or may be accorded to
2. Both the nancial contribution, and the
national audiovisual works by each of the
managerial, performing, technical, craft
Contracting Parties under their respective
and creative participation of each Co-
national laws.
producer shall account for at least 20%
2. Any benets available in Brazil may only (twenty per cent) of the total budget of the
be accorded to a Brazilian Co-producer. Audiovisual Co-Production.
3. Any benets available in India may only be 3. Notwithstanding the contribution and
accorded to an Indian Co-producer. participation rules set out in paragraphs 1
4. The sharing of expenses and revenues shall and 2 of this Article, in exceptional cases
be as mutually decided by the Co-producers. both Competent Authorities may approve
Audiovisual Co-Productions where:
Article 3
a. The contribution by one Co-producer is
Approval of Projects
limited to the provision of nance only,
1. Audiovisual Co-Productions shall
in which case the proposed nance-
require, prior to the commencement of
only contribution shall be 20% (twenty
shooting, approval of both the Competent
per cent) or more of the total budget of
Authorities.
the Audiovisual Co-Production; or
2. Approvals are granted under their
a. Despite falling outside the contribution
respective national laws, shall be in writing
rules, the Competent Authorities
and shall specify the conditions upon
consider that the project would further
which the approval is granted. None of the
the objectives of this Agreement and
Co-producers shall be linked by common
should be approved accordingly.
management, ownership or control, save
to the extent that such links are inherent 4. Subject to the specic conditions and limits
in the making of the Audiovisual Co- laid down in laws and regulations in force
Production itself. in the Contracting Parties, in the case of
multilateral Co-Productions the minority

contribution may not be less than 10% (ten 2. Participants in an Audiovisual Co-
per cent), and the majority contribution Production as dened in this Article must
may not exceed 70% (seventy per cent) of at all times throughout the production
the total cost of the Audiovisual Work. retain their national status, and may not
acquire or lose such status at any point
Article 5 during the course of production activity.
Third Country Co-Productions 3. In exceptional cases, both Competent
1. Where either the Republic of India or the Authorities may approve Audiovisual
Federative Republic of Brazil maintains Works
with a third country an Audiovisual Co-
Production agreement, the Competent a. where script or nancing dictate the
Authorities may approve a project for engagement of performers from other
an Audiovisual Co-Production under countries; and
this Agreement that is to be made in b. where artistic or nancing reasons
conjunction with a Co-producer from that dictate the engagement of technical
third country. personnel from other countries.
2. Approvals under this Article shall be limited Article 7
to proposals in which the contribution
Negatives, First-Release Print and Languages
of the third country Co-producer is no
1. At least one negative and one duplicate
greater than the lesser of the individual
negative shall be made of all Audiovisual
contributions of the Brazilian and Indian
Co-Productions. Each Co-producer shall
Co-producers.
be entitled to make a further duplicate
Article 6 or prints there from. Each Co-producer
Participants shall also be entitled to use the original
1. The screenwriters, the director, actors negative in accordance with the conditions
and other artistic and technical personnel agreed upon between the Co-producers
participating in an Audiovisual Co- themselves. The storage of the original
Production shall be: negative shall be as mutually decided by
the Co-producers.
a. As regards the Republic of India,
2. Audiovisual Co-Productions shall be made
(i) Nationals/citizens of Republic of and processed up to the manufacture of
India; and the rst release print in the Republic of
(ii) Permanent residents of India. India or in the Federative Republic of Brazil
b. As regards the Federative Republic of or, when there is a third Co-producer, in
Brazil, that third Co-producers country.
(i) Nationals/citizens of the Federative 3. The original soundtrack of each Audiovisual
Republic of Brazil; and Co-Production shall be made in Hindi,
or any other Indian language or dialect,
(ii) permanent residents of Brazil.
or in English or Portuguese, or in any
c. In cases in which there is a third Co- combination of those permitted languages.
producer, Dialogue in other languages may be
(i) Nationals/citizens of the third Co- included in the Audiovisual Co-Production,
producers country; and as the script requires.
(ii) Permanent residents of the third
Co-producers country.

4. The dubbing or subtitling into one of the Article 11

permitted languages of the Republic of Temporary Entry into the Country
India or into Portuguese shall be carried out 1. For approved Audiovisual Co-Productions,
in the Republic of India or in the Federative each Contracting Party shall facilitate, in
Republic of Brazil. Any departure from accordance with the domestic law in force
this principle must be approved by the in its country:
Competent Authorities.
a. Entry into and temporary residence in
Article 8 its territory for technical and artistic
International Festivals personnel of the other Contracting Party;
1. The majority Co-producer shall normally b. The import into and export from
enter Audiovisual Co-Productions in its territory of technical and other
international festivals. lmmaking equipment and materials
2. Audiovisual works produced on the basis by producers of the other Contracting
of equal contributions shall be entered as Party; and
an Audiovisual Work of the country which c. The transfer of funds destined for
the director is from. payments related to the audio-visual
Co-Productions.
Article 9
2. These dispositions also apply to third
Location Shooting
parties, approved under Article 5 of the
1. The Competent Authorities may approve
present agreement.
location shooting in a country other than
those of the participating Co-producers. Article 12
2. Notwithstanding Article 6, where location Joint Commission
shooting is approved in accordance with 1. A Joint Commission shall be established
the present Article, citizens of the country comprising representatives of the
in which location shooting takes place may Competent Authorities from both
be employed as crowd artists, in small Contracting Parties.
roles, or as additional employees whose 2. The role of the Joint Commission shall
services are necessary for the location be to evaluate the implementation and
work to be undertaken. operation of this Agreement and to make
Article 10 any proposals considered necessary to
improve the effect of the Agreement.
Credits
An Audiovisual Co-Production shall include 3. The Joint Commission shall be convened,
a title, in the initial credits, indicating that whether by meeting or otherwise, at the
the Audiovisual Work is an Ofcial Indian request of either of the Contracting Parties
Brazilian Co-Production or an Ofcial within six months of such a request.
Brazilian Indian Co-Production. The Article 13
promotional material associated with the
Entry into Force
audiovisual work shall likewise include a credit
1. This Agreement shall enter into force on
reecting the participation of the Republic of
the date of the second notication between
India, the Federative Republic of Brazil and,
the Contracting Parties, through diplomatic
when relevant, the country of a third Co-
channels, conveying that the requirements
producer.
for the entry into force of this Agreement
have been satised.

2. This Agreement including the Annex, which 2. The approval of Co-Production status
forms an integral part of this Agreement, under this Agreement will not mean a
shall remain in force for an unlimited commitment to permit public exhibition of
period of time, unless terminated in terms the Audiovisual Co-Production.
of paragraph 3 of this Article.
Article 15
3. Either Contracting Party may terminate
Amendment
this Agreement by giving six months`
1. This Agreement may be amended by
written notice in advance of such intention
mutual consent of the Contracting Parties
to the other Contracting Party through the
through the exchange of notes between
diplomatic channel.
the Contracting Parties through diplomatic
4. Termination of this Agreement shall have channel.
no effect on the completion of Audiovisual
Co-Productions approved prior to its Article 16
termination. Dispute Resolution
Any dispute between the Contracting
Article 14
Parties arising out of the interpretation or
Permission for Public Exhibition implementation of this Agreement shall be
1. Permission for public exhibition will be in settled consensually through consultation and
accordance with local laws in both India negotiation only.
and Brazil.
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 For the Government of Federative

Republic of INDIA Republic of BRAZIL
Annexure to Agreement between the Authority within thirty (30) days

Government of the Republic of India and the of the submission of the complete
Government of the Federative Republic of documentation.
Brazil on Audio Visual Co-Productions (Rules 3. The approval process under Article 3 of
of procedure for applications for approval of this Agreement shall comprise of approval
Co-Production status under this agreement) prior to commencement of shooting of the
ANNEX Audiovisual Work.
1. Applications for qualication of an 4. Documentation submitted in support of an
Audiovisual Work for Co-Production application shall consist of the following
benets under this Agreement must be items, drafted in English in the case of
made simultaneously to both Competent India and in Portuguese in the case of
Authorities at least 60 (sixty) days before Brazil:
shooting begins. a. The nal script and synopsis.
2. The Competent Authority of one of the b. Documentary proof of having legally
Contracting Parties shall communicate acquired the copyright to produce and
their decision to the other Competent exploit the Audiovisual Work.

c. A copy of the Co-Production contract Authorities in either country

signed by the Co-producers. The refuse to grant the benets
contract shall include: applied for;
(i) The title of the Co-Production; 2. Either one or the other
(ii) The name of the original script writer Contracting Party fails to
or that of the adaptor if it is drawn full its commitments.
from a literary source; necessary 3. The period when shooting is
permission for adapting the literary to begin;
work into a lm from the author/ 4. A clause stating that the
legal heirs shall be attached; majority Co-producer shall
(iii) The name of the director (a take out an insurance
substitution clause is permitted to policy covering at least all
provide for his/her replacement if production risks and all
necessary); original material production
(iv) The budget, identifying the risks; and
expenses to be incurred by each 5. A clause providing for the
Co-producer; sharing of the ownership
(v) The nancing plan; of copyright on a basis that
it is proportionate to the
(vi) A clause establishing the sharing
respective contributions of
of revenues, markets, media or a
the Co-producers.
combination of these;
5. The distribution contract, if it has already
(vii) A clause detailing the respective
been signed, or a draft if it has yet to be
shares of the Co-producers in any
concluded.
over expenditure; the minority Co-
producers share may be limited 6. A list of the creative and technical
to a lower percentage or to a personnel indicating their nationalities.
xed amount, provided that the 7. The production schedule.
minimum proportion permitted 8. Final shooting script.
under Article 4 of the Agreement
9. The Competent Authorities can demand
is respected;
any further documents and all other
(viii) A clause recognizing that additional information deemed necessary.
admission to benets under this
10. Amendments, including the replacement of
Agreement does not constitute a
a Co-producer, may be made in the original
commitment that governmental
contract, but they must be submitted for
authorities in India will grant a
approval by the Competent Authorities
license to permit public exhibition
before the Audiovisual Co-Production is
of the Audiovisual Work;
nished. The replacement of a Co-producer
(ix) A clause prescribing the measures may be allowed only in exceptional
to be taken where: cases and for reasons satisfactory to the
1. After full consideration of Competent Authorities.
the case, the Competent

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 Have agreed as follows:

the Government of Canada (the parties),
ARTICLE 1 - DEFINITIONS
Recognizing that quality audiovisual co-pro-
ductions contribute to the vitality of the au- For the purposes of this Agreement:
diovisual industries of the Parties and to the (a) administrative authority means, for each
development of their economic and cultural Party, the authority which administers the
exchanges; application of this Agreement;
Appreciating that cultural diversity is nur- (b) audiovisual means lm, television, and
tured by ongoing exchanges and interaction video projects made on any production
between cultures and that it is strengthened support, existing or future, for any distribu-
by the free ow of ideas; tion platform intended for viewing;
Recalling that, in pursuit of international co- (c) Canadian elements are expenditures
operation, the UNESCO Convention on the made in Canada by the Canadian producer
Protection and Promotion of Diversity of Cul- or expenditures on Canadian creative and
tural Expressions, done at Paris on October 20, technical personnel made in other States
2005, encourages the conclusion of co-pro- by the Canadian producer in the course of
duction agreements as a means to promote the production of a work;
international cooperation; (d) competent authority means, for each
Agreeing that these exchanges will enhance Party, the delegated authority responsible
relations between the Parties; for the negotiation and implementation of
Recognizing that these objectives may be this Agreement;
achieved by granting domestic benets to (e) distribution or broadcasting means the
qualied audiovisual co-productions; public exhibition or showing of an audiovi-
sual work;

(f) Indian elements are expenditures made ARTICLE 4 - PROPORTIONALITY

in India by the Indian producer or expendi- 1. The share of work expenditures spent
tures on Indian creative and technical per- on Canadian elements and on Indian
sonnel made in other States by the Indian elements respectively shall be in
producer in the course of the production of reasonable proportion to the producers
a work; respective nancial contribution.
(g) national means a natural or legal person 2. The administrative authorities may, by
having a legal relationship which connects mutual consent in writing, recommend
that person to a State and which confers exemptions from paragraph 1, notably for
to that person, under the law of that State, storyline and creative purposes.
the right to benet from the application of
the relevant provisions of this Agreement; ARTICLE 5 - NATIONALITY OF
PARTICIPANTS
(h) non-party means a State which does not
have a coproduction Agreement or memo- 1. Subject to paragraph 2, a participant in
randum of Understanding with either Party; a work shall be a national of one of the
Parties.
(i) producer means a national managing the
production of a work; 2. The administrative authorities may
by mutual consent in writing grant
(j) third-country means a State which has
exemptions from paragraph 1 notably to
a co-production Agreement or memoran-
allow third-country nationals or non-
dum of Understanding with at least one of
party nationals to participate in a work for
the Parties;
storyline, creative, or production purposes.
(k) work means an eligible audiovisual work
to be subsequently recognized as an of- ARTICLE 6 - TEMPORARY ENTRY AND
cial co-production by each Party and in- RESIDENCE
cludes every version thereof. Subject to the Parties respective legislation
and regulations, the Parties shall facilitate the
ARTICLE 2 - GENERAL CONDITIONS
following:
1. A Party shall treat every work as its own (a) The temporary entry into and residence in
production, and to that extent, make it their respective territories of the creative
eligible for the same benets as those and technical personnel and the perform-
available to its audiovisual industries. ers engaged by the producer of the other
2. Each Party shall grant the benets Party for the purposes of the work;
referred to in paragraph 1 to the (b) The temporary entry and re-export of any
producers of a work who are its own equipment necessary for the purposes of
nationals. the work.
3. Each Party shall strive to achieve overall ARTICLE 7 - COPYRIGHT
balance on the nancing of works co-
The Parties shall ensure that the sharing of
produced over a period of ve years.
copyright and revenues between the produc-
ARTICLE 3 - PARTICIPATING ers is, in principle, proportional to their respec-
PRODUCERS tive nancial contribution in accordance with
1. A work shall be jointly produced by the respective requirements of the Parties.
producers of both Parties. ARTICLE 8 - DISTRIBUTION
2. In addition to producers of Canada and 1. Each Party shall verify that its producer
India, third-country producers may also demonstrates the existence of a
participate in a work. distribution or broadcasting commitment

in each others territory and, if third- domes tic procedures necessary for the
country producers are involved in the entry into force have been completed by
work, in the territory of each of the third the Parties.
country producers.
ARTICLE 13 - TRANSITIONAL
2. The administrative authorities may by PROVISION
mutual consent in writing, accept an
A Party shall not discontinue benets con-
alternative distribution commitment
ferred on a work pursuant to this Agreement
in lieu of the commitment described in
for a period of two years following the termi-
paragraph 1, provided that the producers
nation of this Agreement.
of a work demonstrate that this
alternative commitment exists. ARTICLE 14 - SETTLEMENT OF
DISPUTES
ARTICLE 9 - MATERIAL CHANGES
Any dispute arising out of the interpretation,
Each Party shall ensure that its producer
application or implementation of any provi-
promptly advises its administrative authority
sions of this Agreement shall be settled con-
of any material change to a work that may
sensually through consultation and negotia-
affect its qualication for benets under this
tion between the Parties.
Agreement.
ARTICLE 15 - ENTRY INTO FORCE
ARTICLE 10 - COMMUNICATION
1. Each party shall notify the other Party in
Each competent authority shall promptly ad-
writing of the completion of its internal
vise the other of any amendment or judicial
procedures required for the entry into
interpretation of domestic law that may affect
force of this Agreement. This Agreement
benets available under this Agreement.
shall enter into force on the rst day
ARTICLE 11 - STATUS OF ANNEX of the rst month following the later
1. The Annex to this Agreement is for notication.
administrative purposes and is not part of 2. This Agreement shall remain in force for a
this Agreement. period of ve years from the date of entry
2. The Annex may be modied by the into force.
competent authorities by mutual consent 3. Subject to paragraph 4, this Agreement
in writing, provided that the modications shall renew automatically at the end of
do not conict with this Agreement. ve years from the date of entry into force
and at the end of every subsequent ve-
ARTICLE 12 - MEETINGS AND
year period.
AMENDMENTS
4. A Party may give notice to the other Party
1. Meetings will be held as needed between
in writing of its intention to terminate this
representatives of the competent
Agreement. This notice shall be given no
authority of each Party, to discuss and
less than six months before the end of the
review the terms of this Agreement.
fth year following the entry into force,
2. The Parties may amend this Agreement or before the end of any subsequent ve-
by mutual consent in writing. The year period, in which case this Agreement
amendments shall enter into force on the shall terminate at the end of that ve-
date of the last written notication that year period.
IN WITNESS WHEREOF, the undersigned, being duly authorized by their respective govern-
ments, have signed this Agreement.

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

Government of the republic of India Canada
ANNEX (c) The Parties, through their administrative

This Annex is for administrative purposes may by mutual consent in writing exemp-
and is not part of the Audiovisual Co-productions from paragraphs (a) and (b), storyline
tion Agreement between the Government of and creative purposes. authorities, recom-
the Republic of India and the Government of mend notably for
Canada (the Agreement). 4. LOCATION AND TECHNICAL
1. DEFINITIONS SERVICES
Unless otherwise specied, the denitions of (a) Subject to paragraph (b), a work will be
the Agreement apply. shot in the territory of either Party and
For the purposes of this Annex: may also be shot in the territory of a third-
dubbing means the production of any version country producer.
in a language other than the original language (b) The administrative authorities may, by mu-
or languages of the work. tual consent in writing, allow a work to be
shot in the territory of a third country or a
2. FINANCIAL CONTRIBUTION BY non-country for a storyline and/or creative
PRODUCERS reasons.
(a) The nancial contribution of the producers (c) All or part of the technical services of a
of each Party will be decided by arrange- work will be provided in the territory of
ment between the producers, and will be either Party or in the territory of a third-
between 20 per cent and 80 per cent of the country producer.
total production budget of the work.
5. DUBBING
(b) The third-country producer(s) involved in
(a) Subject to paragraph (b), all dubbing ser-
a multi-party work will contribute a mini-
vices will be performed in the territory of
mum of 10 percent of the total production
one of the Parties or of a third-country pro-
budget of that work.
ducer.
3. CREATIVE AND TECHNICAL (b) Where a producer can reasonably demon-
CONTRIBUTION BY PRODUCERS strate that the necessary capacity does not
(a) The creative and technical contribution of exist in the territory of either Party or of a
the producers will be in reasonable propor- third-country producer, the administrative
tion to their respective nancial contribu- authorities may by mutual consent allow
tion, and in accordance with the require- the dubbing to be performed elsewhere.
ments of the respective Parties.
6. MODIFICATION
(b) The creative and technical contribution of
The provisions of this Annex may be modied
each thirdcountry producer involved in the
by mutual consent in writing of the competent
work will be in reasonable proportion to
authorities provided that these modications
their respective nancial contribution.
do not conict with the Agreement.

CHINA
AUDIOVISUAL CO-PRODUCTION AGREEMENT BETWEEN
THE GOVERNMENT OF THE REPUBLIC OF INDIA AND THE
PEOPLES REPUBLIC OF CHINA.
The MINISTRY OF INFORMATION AND documentary, cine-lm or animation lm,

BROADCASTING OF THE REPUBLIC OF IN- irrespective of length, produced in any
DIA and the STATE ADMINISTRATION OF format, and distributed in theatres, on
PRESS, PUBLICATION, RADIO, FILM AND televisions, video cassettes or any other
TELEVISION OF THE PEOPLES REPUBLIC forms of projection.
OF CHINA hereinafter referred to as the 1.2 Co-production is a production co-pro-
Contracting Parties, duced after joint investment by producers
CONSIDERING that it is desirable to estab- from India and China.
lish a framework for the development of their 1.3 Competent Authority responsible for
audio visual co-productions; implementation of the Agreement shall
be -
CONSCIOUS that quality co-productions
a. On behalf of Republic of India,
can contribute to the further expansion of the
the Ministry of Information and
audio visual production and distribution of
Broadcasting
both countries as well as to the development
of their cultural and economic exchanges; b. On behalf of Government of the
Peoples Republic of China, the State
CONVINCED that these exchanges will
Administration of Press, Publication,
contribute to the enhancement of relations
Radio, Film and Television.
between the two countries in the audio visual
eld; c. Co-production projects falling within
the scope of this Agreement shall
HAVE AGREED AS FOLLOWS:
be subject to the approval of the
ARTICLE 1 Denition Competent Authority.
For the purpose of this Agreement: d. Each co production undertaken under
1.1 Co- Production refers to feature lm, this Agreement shall be in accordance

with the laws and regulations in force in writing to make appropriate changes, in
in the Contracting Parties. percentage, as may be deemed t.
1.4 Co-producer shall be: ARTICLE 4 Participants
a. In relation to India:
4.1 The producers, writers, directors, techni-
(i) Citizens of India; cians, actors and other personnel involved
(ii) Entities which are established or in co-productions shall be citizens of
incorporated in India either of the countries or permanent resi-
b. In relation to China: dents of either party.
(i) Citizens and legal persons of 4.2 In the event of exceptional need of audio
China; visual co-production, persons other than
nationals or permanent residents as
(ii) Persons who are not citizens
stated hereinabove are permissible to
of China but are permanent
be engaged without losing the character
residents of China;
of co-production in case advance writ-
(iii) Entities which are established or ten permission from both the countries
incorporated in China. authorities is obtained after explaining the
1.5 Nationals mean persons of either reasons of inclusion of such person.
Contracting Party deriving the status as
ARTICLE 5 Filming and Production
nationals of that Contracting Party from
Outside the Contracting Countries
its laws and regulations in force.
5.1 Live action shooting of a co-produced lm,
ARTICLE 2 Recognition as a National Film including animation works such as story-
and Entitlement to Benets boards, layout, key animation, in between
2.1 A co-production lm shall be fully entitled and voice recording must, in principle, be
to all the benets which are or may be carried out alternately in India or in China.
accorded to national lms by each of the 5.2 Location shooting of a co-produced lm,
Parties under their respective national exterior or interior, in a country not partici-
laws and regulations. pating in the co-production may, however,
2.2 These lms shall be entitled to claim all be authorized by the competent authori-
state support and benets available to the ties of both countries if the script or the
lm and video industries and the privi- action so requires and if technicians from
leges granted by the provisions in force in India and China take part in the shooting.
the respective countries 5.3 The processing and post-production of co-
ARTICLE 3 Contribution productions shall be done in either India
or China, unless it is technically impos-
3.1 Any benets under this Agreement shall
sible to do so in either of the countries,
be available for audio visual co-production
in which case the processing and post-
only when investment or nance, mate-
production in a country not participating
rial and management including creative
in the co-production may be authorized by
and other inputs not below 20% comes
the competent authorities of both coun-
from co-producer of one country; provided
tries.
always that specic percentage contribu-
tion will be decided amongst producers ARTICLE 6 Film Languages
themselves. 6.1 The original soundtrack of each audio vi-
3.2 Notwithstanding anything stated in above sual co-production shall be made in Hindi,
paragraph, the competent authorities of or any other Indian language or dialect, or
both sides may at any time decide jointly in Chinese or English, or in any combina-

tion of those permitted languages. ARTICLE 10 Balanced Contribution

6.2 Dialogue in other languages may be 10.1 A general balance should be maintained
included in the audio visual co-production, with regard to both the artistic and tech-
as the script requires. nical personnel, including the cast.
6.3 The dubbing or subtitling into one of the 10.2 The Joint Commission, established in
permitted languages of India or into the terms of this Agreement, shall carry out
language of China shall be carried out a review to see whether this balance has
in India, or in China; and that in English been maintained and, if this is not the
language be discussed and decided by the case, shall take measures which it con-
co-producers. siders necessary in order to re-establish
such a balance.
ARTICLE 7 Film Negatives
Two negatives, or at least one negative and ARTICLE 11 Joint Commission
one duplicate negative, shall be made of all 11.1 The Joint Commission shall comprise
co-produced lms. Each co-producer shall representatives from Governments of
be entitled to make a further duplicate or both countries and from the lm indus-
prints there from. Each co-producer shall try of both Contracting Parties.
also be entitled to use the original negative in 11.2 The role of the Joint Commission
accordance with the conditions agreed upon shall be to supervise and review the
between the co-producers themselves. The implementation and operation of this
storage of the original negative shall be as Agreement and to make any proposals
mutually decided by the co-producers. considered necessary to improve the
ARTICLE 8 Temporary Entry into the implementation of the Agreement.
Country 11.3 The Joint Commission shall be con-
Both Contracting Parties in accordance with vened at the request of either of the
their domestic laws shall facilitate: Contracting Parties within six months of
such a request.
(a) entry and short stay in either of the two
countries for producers, writers, directors, ARTICLE 12 Minority and Majority
technicians, actors and other personnel, Contribution in the Case of Multilateral
(b) importing of equipment, props, lm stocks Audio visual Co-productions
and the like. Subject to the specic conditions and limits
laid down in laws and regulations in force
ARTICLE 9 Property and Revenues
in the Contracting Parties, in the case of
9.1 Both Contracting Parties jointly own the multilateral co-productions, the minority
copyrights of each co-produced lm and contribution may not be less than 10% and
at the same time it is proportionate to the the majority contribution may not exceed 70%
respective contributions for co-producers of the total cost of the lm.
to share market revenues.
9.2 The sharing of revenues by the co-produc- ARTICLE 13 Public Exhibition
ers should, in principle, be proportional 13.1 Nothing in this Agreement binds the
to their respective contributions and this competent authorities of the Contracting
should be negotiated and agreed, and Parties to permit the public exhibition of
specied in the agreement between the a lm, which has been granted Approved
co-producers themselves. The respective Co-production status.
contribution of each co-producer may be 13.2 Both co-producers shall shoot the lm in ac-
decided mutually on the basis of prin- cordance with the approved script and sub-
ciples elaborated in Article 3. mit it to respective competent authorities for

examination afterwards. If there is no any 16.2 Either of the co-producers may make
essential difference between the completed the co-produced lm access to inter-
lm and the approved script, the lm could national lm festivals by notifying the
be exhibited in India, China or a third country, other co-producer in advance.
in accordance with the current laws, rules,
ARTICLE 17 Settlement of Disputes
regulations and guidelines, governing the
same in the respective countries. Any dispute between the Contracting Parties
arising out of the interpretation and imple-
ARTICLE 14 Export to a Third Country mentation or application of this Agreement
When a co-produced lm is exported to a shall be settled consensually through
country, which has quota limitations: consultation and negotiation and shall not
a) In principle, the co-produced lm shall be be referred for resolution to any national or
included in the quota of the country of the International tribunal or a third party.
majority investment; Article 18 Amendment
b) If both co-producers have made an This Agreement may be amended at any
equal contribution, co-producers of both time by the mutual consent of the Contract-
sides shall decide the quota in question ing Parties through the exchange of notes
through friendly consultation, so that the between the Contracting Parties through the
co-produced lm can be included in the diplomatic channel.
quota of the country that can make better
arrangements for the export of the lm. ARTICLE 19 Entry into Force, Duration and
Termination of the Agreement
c) If difculties still exist, the co-produced
lm shall be included in the quota of the 19.1 This Agreement shall come into force
country of which the director is a national. when each Party has informed the other
that its internal ratication procedures
ARTICLE 15 Credits have been completed. This Agreement
15.1 A co-produced lm shall when shown, shall come into effect on the later date
be identied as a India-China Audio of these two notications.
-visual Co-production or China-India 19.2 This Agreement shall be valid for a
Audio-visual Co-production according period of three years from the date of its
to the origin of the majority co-producer entry into force; a tacit renewal of this
or in accordance with an agreement Agreement for the periods shall take
between co-producers. place unless one or the other Party gives
15.2 Such identication shall appear in the written notice of termination six months
credits, in all commercial advertising before the expiry date.
and promotional materials and when- 19.3 Co-productions which have been rec-
ever this co-production is shown. ognized by the competent authorities
ARTICLE 16 Entry in International of the Contracting Parties and which
Film Festivals are in progress at the time of notice
of termination of this Agreement by
16.1 In the event of presentation at interna-
either Contracting Party shall continue
tional lm festival, unless the co-pro-
to benet fully until completion from
ducers agree otherwise, a co-production
the provisions of this Agreement. After
shall be entered by the country of the
expiry or termination of this Agreement,
majority co-producer or, in the event of
its terms shall continue to apply to the
equal nancial participation of the co-
division of revenues from completed co-
producers, by the country of which the
productions.
director is a national.

In witness whereof the undersigned, duly authorised by their respective Governments, have
signed this Agreement.
Done in at New Delhi on September 18 of 2014 in two originals each in Chinese, Hindi, and Eng-
lish language, three versions being equally authentic. In case of any divergence in interpreta-
tion, the English text shall prevail.
FOR THE MINISTRY OF INFORMATION FOR THE STATE ADMINISTRATION OF

AND BROADCASTING OF PRESS, PUBLICATION, RADIO, FILM AND
THE REPUBLIC OF INDIA TELEVISION OF THE PEOPLES REPUBLIC
OF CHINA
SIGNATURE SIGNATURE
Annex 3. The following documents shall be

Annex to Agreement On Audio Visual Co- submitted:
production Between the State Administration 3.1 The nal script and synopsis;
of Press, Publication, Radio, Film and Televi- 3.2 Documentary proof of having legally
sion of the Peoples Republic of China and the acquired the rights to produce and
Ministry of Information and Broadcasting of exploit the co-production and that the
the Republic of India (Rules of Procedure for copyright for the audio-visual co-pro-
Applications for Approval of Co-production duction has been legally acquired;
Status Under This Agreement) 3.3 A copy of the co-production contract
signed by the two co-producers.
(This Annex is for administrative purposes
and is not part of the Audio -visual Co Pro- The contract shall include:
duction Agreement between the the State a. The title of the audio-visual co-
Administration of Press, Publication, Radio, production;
Film and Television of the Peoples Republic b. The name of the author of the script,
of China and the Ministry of Information and or that of the adaptor if it is drawn
Broadcasting of the Republic of India.) from a literary source; necessary
1. Applications for qualication of a lm for permission for adapting the literary
audio visual co-production benets under work into a lm from the author/legal
this Agreement for any co-production heirs may be attached;
must be made simultaneously to both c. The name of the director;
competent authorities at least sixty days
d. The budget;
before shooting begins.
2. Co-Producers from both Contracting Par- e. The nancing plan;
ties shall submit the proposals to their f. A clause establishing the sharing of
competent authorities respectively for revenues and markets;
approval. Both competent authorities shall, g. A clause detailing the respective
in accordance with relevant guidelines of shares of the co-producers in any over
the respective country, communicate and or under expenditure, which shares
negotiate with each other within thirty shall in principle be proportional to
days of the submission of the complete their respective contributions;
documentation about the approval of Co-
h. A clause stating that the competent
production status.
authorities have to be informed if the

percentage of the contribution of a co- to the respective contributions for co-

producer changes subsequent to the producers to share market revenues.
approval of the competent authorities; 3.4 The distribution contract, where it has
in any case, the contribution may not already been signed;
be less than the minimum contribution
3.5 A list of the creative and technical
agreed in Article 3;
personnel indicating their nationali-
i) A clause stating that audio visual ties and, in the case of performers, the
productions co-produced under this roles they are to play;
Agreement may be publicly exhibited
3.6 The production schedule;
in either country in accordance with
prescribed rules/procedures; 3.7 The detailed budget identifying the
expenses to be incurred by each co-
j) A clause recognising that admission
producer in each country; and
to benets under this Agreement
does not constitute a commitment 3.8 All contracts and other relevant nan-
that competent authorities in either cial documentation for all participants
country will grant a license to permit in the nancial structure.
public exhibition of the audio visual 4. The competent authorities can demand
co-production; any further documents and all other ad-
k) A clause prescribing the measures to ditional information deemed necessary, as
be taken where: to consider the co-production application.
(i) after full consideration of the 5. In principle, the nal shooting script (in-
case, the competent authorities in cluding the dialogue) should be submitted
either country refuse to grant the together with all other necessary docu-
benets applied for; ments to the competent authorities prior
to the commencement of shooting for nal
(ii) the competent authorities prohibit
approval.
the exhibition of the audio visual
co-production in either country or 6. Amendments, including the replacement
its export to a third country; of a co-producer, may be made in the origi-
nal contract, but they must be submitted
(iii) either one or the other Party fails
for approval by the competent authorities
to fulll its commitments;
before the audio visual co-production is
l) the period when shooting is to begin; nished. The replacement of a co-producer
m) a clause stipulating that the majority may be allowed only in exceptional cases
co-producer shall take out an insur- and for reasons satisfactory to both the
ance policy as mutually decided by the competent authorities.
co-producers; and 7. The competent authorities will keep each
n) a clause providing for the joint owner- other informed of their respective deci-
ship of copyright for co-producers and sions.
at the same time it is proportionate

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 expectation for public exhibition, with or
and the Government of the French Republic without access to Public support;
(hereinafter referred to as the Parties), b. Competent Authority means:
CONSIDERING the Convention on the For India, the Ministry for Information and
Protection and Promotion of the Diversity of Broadcasting;
Cultural Expressions and its ratication by For France, the Centre national du cinema
India on 15th December, 2006 and by France et de limage anime (CNC).
on 18th December, 2006, The Parties shall inform each other if the
DESIRING to strengthen the relationship competent authorities are replaced by others.
between India and France concerning lm
Article 2
production,
HAVE AGREED AS FOLLOWS: 1. Subject to the approval of both competent
authorities, a lm Co-produced in
Article 1
compliance with this Agreement shall
For the purpose of this Agreement: be deemed to be a national lm in the
a. Film means feature length lm territory of each Party and shall thus be
including animation and documentary fully entitled to all the benets which are
lm which complies with the laws and granted under the laws and regulations in
rules in force in each country and which force in the territory of each Party.
is intended to be rst shown in cinema
2. The competent authority of each Party
theatres. Both the Parties would under
shall provide to the competent authority
this Agreement also encourage the
of the other Party a list of provisions
development of Co-Production projects
concerning these benets.
for short lms for which there is an

If the provisions concerning these benets responsible or liable for the credentials of
are changed in any way by either Party, the either of the Co-producers.
competent authority of that Party shall 2. Each of the producers must satisfy the
inform the competent authority of the following additional conditions:
other Party of the details of such change.
3. The above mentioned benets shall accrue a. The president(s), director(s) or
solely to the producer of the Party which manager(s), must be citizen of India,
grants them. France or the European Union. Persons
who do not have the citizenship of the
4. In order to be approved as a Co-Production aforesaid countries but can demonstrate
under this Agreement, the lm must: their domicile or permanent residence
- in France, apply for Co-Production therein will be deemed to be citizens of
clearance before the shooting starts, India or France within the meaning of
and receive nal approval from the this subparagraph.
competent authority no later than
b. The producer must not be controlled
4 (four) months after its release in
legally or effectively by one or more
France;
citizens of any country other than
- in India, apply for Co-Production
India, France or the EU countries.
clearance before the shooting starts,
and receive nal approval from the 3. Artistic and technical participants in the
competent authority no later than 4 production of the lm shall be citizens
(four) months after its completion in of India, France or the EU countries.
India. Participants who do not have the
The application for such approval shall comply citizenship of the aforesaid countries
with the procedures set forth by each Party but can demonstrate their domicile or
and satisfy the minimum requirements set permanent residence therein will be
forth in Annexure to this Agreement. deemed to be citizens of India or France
The competent authorities of the Parties within the meaning of this subparagraph.
shall exchange all information concerning the Actors who do not have the aforesaid
approval, rejection, change or withdrawal of citizenship may participate in a Co-
any application received for approval for Co- Production in the event that the competent
Production. authorities of the Parties so approve, after
Before an application for approval is rejected, consideration of the production needs of
the competent authorities of the Parties shall the lm.
consult with each other.
Article 4
Once the competent authorities of the Parties
have approved the Co-Production of a lm, Studio lming, location shooting (exterior or
such approval may not be later revoked interior) and laboratory work shall in principle
without the consent of competent authorities be carried out in the territory of either Party.
of the Parties. Outdoor shooting in third countries may
The approval of Co-Production by the be permitted, subject to the consent of the
competent authorities of the Parties shall competent authorities of the Parties, provided
not be related in any way to the lm rating that it is necessary for the scenario or the
systems of either Party. acting.
Article 3 Article 5
1. In order to qualify for the approval for 1. The proportion of the respective nancial
Co-Production, the producer shall have contributions of the Co-producers of each
the necessary capabilities to produce party to the production of the lm shall
the concerned lm. The Parties are not be decided by arrangement between the

Co-producers, and shall be between 20% state that the lm is a Co-Production

(twenty percent) to 80%(eighty percent) between India and France.
of the nal production costs of the lm. a. For the purpose of entry into different
Notwithstanding the above, in exceptional lm festivals, the Co-producers shall
circumstances and subject to the approval decide mutually.
of the competent authorities of both
b. The fact that a lm is a Co-Production
Parties, the 20% threshold may be reduced shall also be mentioned when it is
to 10% taking into account the artistic submitted to a lm festival.
and technical collaborations of the Co-
producer(s) of each party. Article 9
2. In principle, the technical and artistic The sharing of revenues by the Co-producers
contribution of the Co-producer of each should, in principle, be in proportion to their
Party shall be in the same proportion as respective contributions and this should
its nancial contribution under normal be specied in the agreement itself. The
circumstances. However, in exceptional respective contribution of each Co-producer
cases where the approval of the may be decided mutually on the basis of
competent authorities of both parties has principles elaborated in Article 5.
been obtained, these percentages shall be Article 10
between 10% and 90 %. 1. The competent authorities of both the
Article 6 Parties acknowledge that a lm Co-
produced in compliance with this Agreement
1. All producers shall be the joint owners of all may also be approved for Co-Production
the tangible and intangible elements of the with the producers of a third country with
lm. which either Party has entered into a lm
2. All materials shall be stored at a mutually Co-Production treaty.
approved laboratory under the joint name 2. The conditions of approval of such lm as a
of the producers. Co-Production shall be determined in each
Article 7 individual case by competent authorities.
For Co-Productions approved under this Article 11
Agreement, each Party shall facilitate, in
1. A joint commission (hereinafter referred
accordance with the domestic law in force in
to as the Joint Commission) consisting
its territory:
of representatives of the competent
a. the entry and temporary residence
authorities of both Parties and experts in
in its territory for the technical and
related elds shall be established for the
artistic personnel of the other Party
purpose of facilitating the implementation
who participate in the production of
of this Agreement or recommending
the lm;
amendments thereto.
b. the import into, and export out of
2. During the effective period of this
its territory of technical equipment
Agreement, the Joint Commission
and other material necessary to the
shall be convened in principle every 2-3
coproduction (including lm, technical
years, alternately in India and France.
equipment, costumes, accessories,
Extraordinary sessions of the Joint
publicity material) by the Co-producer Commission may also be convened at
of the other Party. the request of either Party in the event
Article 8 of changes in the laws and regulations
applicable to the lm industry or major
1. Credit titles, trailers and all publicity
obstacles (in particular, imbalance in
material of the lm Co-Productions shall

contribution) to the functioning of this this Agreement shall be settled consensually

Agreement. through consultation and negotiation and shall
3. During its meeting sessions, the Joint not be referred for resolution to any national or
Commission shall review whether an international tribunal or a third party.
overall balance has been achieved in the Article 14
contributions from the two Parties and 1. This Agreement shall come into force after
shall implement the necessary measures
each Party has informed the other Party
in order to correct any imbalance.
through ofcial diplomatic channels that
4. If an imbalance in contributions has its internal ratication procedures have
occurred and a session of the Joint been completed.
Commission is not convened expeditiously
2. This Agreement shall remain in force
in order to review the measures to restore
initially for a period of 2 (two) years from the
balance, both competent authorities shall
date of its entry into force, and then shall
abide by the principle of reciprocity for
be automatically renewed for successive
each lm in approving Co-Productions.
periods of 2 years, unless written notice is
Article 12 otherwise given by either Party to the other
This Agreement may be amended by the Party at least 3 (three) months before the
mutual consent of the Parties through the expiry of the relevant period.
exchange of notes between the Parties through 3. Unless both Parties decide otherwise,
the diplomatic channel. the termination of this Agreement shall
Article 13 not affect the rights and duties of the
Parties in relation to lm Co-Productions
Any dispute between the Parties arising out already approved in accordance with this
of the interpretation or implementation of 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 For the Government of

Republic of INDIA FRENCH Republic

Annexure to the Co-Production Agreement

Application Process
In order to implement the provisions of this - a budget including a detailed nancing
Agreement, the producers established in both plan ;
countries must, before shooting commences, - a production schedule
submit an application for coproduction status
- the coproduction contract made between
and attach the documents listed below:
the producers ;
- a copy of the documentation concerning
the purchase of the copyright for the - and all the documentation that the
commercial exploitation of the work ; competent authorities require to conduct
the technical and nancial evaluation of
- a synopsis including concrete information
the project.
on the theme and contents of the lm ;
The competent authority of the party with
- a list of the technical and artistic
smaller contribution shall decide on approval
contributions from each of the countries
after it has received the opinion of the
involved ;
competent authority of the party with greater
- a work plan stating the periods and nancial contribution.
locations of principal photography on
a weekly basis for studio and outdoor
shooting ;

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 ARTICLE 1

the Federal Republic of Germany (hereinafter Denition of audio-visual Co-Production
jointly referred to as the Contracting For the purpose of this Agreement, an
Parties); audiovisual Co-Production is a project
Considering that audio-visual Co-Productions irrespective of length, including animation
can signicantly contribute to the development and documentary productions, produced in
of the lm industry and to an intensication of any format, for exploitation in theatres, on
the cultural and economic exchange between television, videocassette, videodisc, CD-ROM,
the two countries; DVD or by any other form of distribution. New
Resolved to stimulate cultural and economic forms of audiovisual production will be included
co-operation between the Republic of India in this Agreement, through the exchange of
and the Federal Republic of Germany; notes between the Contracting Parties.
Desiring to create conditions for good relations
ARTICLE 2
in the audio-visual area, particularly for the
Co-Production of lms and TV and video Competent authorities
productions; 1. The competent authorities responsible
Mindful of the fact that the quality of Co- for the implementation of this Agreement
Productions can help to expand the production shall be:
of TV and video productions of both countries; a. On behalf of the Republic of India , the
Have agreed as follows Ministry of Information and;

b. Broadcasting on behalf of the Federal of photography, art directors, actors and

Republic of Germany, the Federal sound technicians. The contribution of
Ofce of Economics and Export Control each of these persons shall be evaluated
(BAFA). individually.
c. Co-Productions falling within the scope 4. As a rule, the contribution includes at least
of this Agreement shall be subject one leading actor, one supporting actor
to the approval of the competent and/or one qualied technical staff person,
authorities.
in addition to the one person as referred to
2. The Contracting Parties shall inform each in paragraph (3) provided that two qualied
other if the competent authorities are technical staff persons may substitute for
replaced by others. one leading actor.
ARTICLE 3 5. The Co-producers in either of the two
Approval as national lms countries shall satisfy themselves about
1. Films, which are produced within the each others capability, including their
framework of this Agreement, shall be professional knowledge, organizational
deemed national lms. capability, nancial backing and
2. These lms shall be entitled to claim all professional reputation. The Contracting
state support benets available to the lm Parties are not responsible or liable for the
and video industries and the privileges credentials of either of the Co-producers.
granted by the provisions in force in the
6. The company carrying out the Co-
respective countries.
Production shall provide evidence that
3. ARTICLE 4 the primary business of that company
Conditions for obtaining approval of Co- is audiovisual (lm, television and video)
Production status production.
1. Any benets under this Agreement shall
ARTICLE 5
be available for the Co-Production only
when investment of nance, material and Participants
management including creative and other 1. The persons participating in the production
inputs is not below 20 % (twenty percent) of a lm shall fulll the following
of the total cost coming from the Co- requirements:
producer of one country. a. As regards the Republic of India , they
2. The Co-producers of a lm shall have their shall be
principal ofce or a branch ofce in the (i) Nationals/Citizens of the Republic
territory of one of the Contracting Parties. of India or
None of the Co-producers shall be linked (i) Permanent residents of India
by common management, ownership or
b. As regards the Federal Republic of
control.
Germany, they shall be
3. Technical and artistic personnel are those
(i) Germans within the meaning of
persons who, in accordance with the
the Basic Law
domestic law in force in their own country,
are recognized as makers of audio-visual (ii) Persons who are rooted in the
productions, in particular screenwriters, German culture and have their
directors, composers, editors, directors legal residence in the territory of
the Federal Republic of Germany;

(iii) Nationals of a member state of Contracting State of the Agreement on

the European Union; or the European Economic Area respectively.
(iv) Nationals of another party to Any departure from this principle must be
the Agreement on the European approved by the competent authorities.
Economic Area (EEA) of 2 May ARTICLE 7
1992.
Entry in International Festivals
2. Participants in the Co-Production as 1. The majority Co-producer shall normally
dened in sub paragraphs (a) and (b) must enter Co-produced lms in international
at all times throughout the production festivals.
retain their national status, and may not
2. Films produced on the basis of equal
acquire or lose such status at any point
contributions shall be entered as a lm
during the course of production activity.
of the country of which the director is a
3. Should the lm so require, the participation national, provided that the director is not
of professionals who are not citizens of from a country contemplated in Article
one of the Co-producing countries may 5(1) (a) (iv), in which case the lm shall be
be permitted, but only in exceptional submitted as a lm of the country of which
circumstances, and subject to agreement the lead actor is a national, subject to the
between the competent authorities of both agreement of the competent authorities of
Contracting Parties. both Contracting Parties.
ARTICLE 6 ARTICLE 8
Film Negatives and Languages Minority and majority contribution in the case
1. Two negatives, or at least one negative and of multilateral Co-Productions
one duplicate negative, shall be made of all Subject to the specic conditions and limits
Co-produced lms. Each Co-producer shall laid down in laws and regulations in force in the
be entitled to make a further duplicate Contracting Parties, in the case of multilateral
or prints there from. Each Co-producer Co-Productions, the minority contribution may
shall also be entitled to use the original not be less than 10% (ten per cent) and the
negative in accordance with the conditions majority contribution may not exceed 70%
agreed upon between the Co-producers (seventy per cent) of the total cost of the lm.
themselves. ARTICLE 9
2. The original soundtrack of each Co- Contributions of the producers
Production lm shall be made in Hindi or 1. Notwithstanding the provisions of this
any other Indian language or dialect or, in Agreement and in the interest of bilateral
English or German or in any combination Co-Productions, even those lms, which
of those permitted languages. Dialogue in are produced in one of the two countries
other languages may be included in the and where the minority contribution is
Co-Production, as the script requires. limited to nancial investment, may be
3. The dubbing or subtitling into one of the granted Co-Production status according
permitted languages of the Republic of to the Co-Production agreement. In such
India or into German shall be carried out a case, the minority contribution may not
in the Republic of India , or in the Federal be less than 20% (twenty per cent) of the
Republic of Germany or in another Member nal total cost of the lm.
State of the European Union or in another

1. The granting of Co-Production status to and operation of this Agreement and to

each individual production of this kind make any proposals considered necessary
shall be subject to the prior approval by to improve the implementation of the
the competent authorities. Agreement.
2. The expenses incurred in the territories of 3. The Joint Commission shall be convened,
the Contracting Parties for the promotion of whether by meeting or otherwise, at the
such Co-Productions shall be compensated request of either of the Contracting Parties
within two years of the completion of the within six months of such a request.
project.
ARTICLE 13
ARTICLE 10 Temporary Entry into the country
Balanced contribution For approved Co-Productions, each Contracting
1. A general balance should be maintained Party shall facilitate, in accordance with the
with regard to both the artistic and domestic law in force in its country:
technical personnel, including the cast, a. Entry into and temporary residence in
and with regard to the nancial investment its territory for technical and artistic
and facilities (studios, laboratories, and personnel of the other Contracting Party;
postproduction). b. The import into and export from
its territory of technical and other
2. The Joint Commission, established in
lmmaking equipment and materials
terms of article 12, shall carry out a review
by producers of the other Contracting
to see whether this balance has been Party.
maintained and, if this is not the case,
shall take measures, which it considers ARTICLE 14
necessary in order to re-establish such a Amendment
balance. This Agreement may be amended by the mutual
consent of the Contracting Parties through the
ARTICLE 11
exchange of notes between the Contracting
Credits Parties through the diplomatic channel.
A Co-Production lm and the promotional ARTICLE 15
materials associated with it shall include
Settlement of Disputes
either a credit title indicating that the lm is
Any dispute between the Contracting
an ofcial German-Indian Co-Production Parties arising out of the interpretation or
or an ofcial Indian German Co-Production implementation of this Agreement shall be
or where relevant a credit which reects settled consensually through consultation and
the participation of the Federal Republic of negotiation.
Germany, Republic of India and the country of ARTICLE 16
the third co producer.
Entry into Force, Duration and Termination
ARTICLE 12
1. This Agreement shall enter into force on
Joint Commission the date of signature.
1. The Joint Commission shall be composed
2. This Agreement including the annex, which
of representatives from Government
forms an integral part of this agreement,
and from the lm, television and video
shall remain in force for an unlimited
industries of both Contracting Parties.
period of time, unless terminated in terms
2. The role of the Joint Commission shall be of paragraph.
to supervise and review the implementation

3. Either Contracting Party may terminate copyright for the Co-Production has
this Agreement by giving six months been legally acquired;
written notice in advance of such intention 3.3 a copy of the Co-Production contract
to the other Contracting Party through the signed by the two Co-producers.
diplomatic channel. The contract shall include
4. Termination of this Agreement shall have no a. The title of the Co-Production;
effect on the completion of Co-Productions b. The name of the author of the script, or
approved prior to its termination. that of the adaptor if it is drawn from a
Done at Berlinon this day of 16th of February literary source; necessary permission
2007 in two originals each in English, German for adapting the literary work into a
and Hindi, all three versions being authentic. lm from the author/legal heirs may
In case of any divergence of interpretation, the be attached;
English text shall prevail. c. The name of the director (a substitution
(Rules Of Procedure for applications for clause is permitted to provide for his/
approval of Co-Production status under this her replacement if necessary);
agreement) d. The budget;
1. Applications for qualication of a lm
e. The nancing plan;
for Co-Production benets under this
Agreement for any Co-Production must be f. A clause establishing the sharing
made simultaneously to both competent of revenues, markets, media or a
authorities at least thirty (30) days before combination of these;
shooting begins. g. A clause detailing the respective
2. The competent authority of both Parties shares of the Co-producers in any over
shall communicate their proposal to the or under expenditure, which shares
other competent authority within twenty shall in principle be proportional to
(20) days of the submission of the complete their respective contributions, although
documentation as described in paragraph the minority Co-producers share in
3 below. any over expenditure may be limited
to a lower percentage or to a xed
3. Documentation submitted in support of an
amount providing that the minimum
application shall consist of the following
proportion permitted under Article 9 of
items, drafted in German in the case of
the Agreement is respected;
Germany and in English in the case of
India : h. A clause stating that the competent
3.1 The nal script and synopsis; Co-
percentage of the contribution of a co-
Productions under this Agreement
producer changes subsequent to the
shall be shot in Germany or India,
approval of the competent authorities;
as the case may be, in accordance
in any case, the contribution may not
with the guidelines of the respective
be less than the minimum contribution
country; The Parties shall inform each
agreed in
other from time to time of relevant
guidelines and any changes thereto. i. A clause stating that lms Co-
3.2 documentary proof of having legally produced under this Agreement may
acquired the rights to produce and be publicly exhibited in either country
exploit the Co-Production and that the in accordance with prescribed rules/
procedures;

j. A clause recognizing that admission 3.5 a list of the creative and technical
to benets under this Agreement does personnel indicating their nationalities
not constitute a commitment that and, in the case of performers, the
governmental authorities in either roles they are to play;
country will grant a license to permit 3.6 the production schedule;
public exhibition of the Co-Production;
3.7 the detailed budget identifying the
k. A clause prescribing the measures to expenses to be incurred by each
be taken where: country; and
l. After full consideration of the case, the 3.8 all contracts and other relevant
competent authorities in either country nancial documentation for all
refuse to grant the benets applied participants in the nancial structure.
for;
4. The competent authorities can demand any
m. The competent authorities prohibit further documents and all other additional
the exhibition of the Co-Production in information deemed necessary.
either country or its export to a third
5. In principle, the nal shooting script
country;
(including the dialogue) should be
n. Either one or the other Party fails to submitted to the competent authorities
fulll its commitments; prior to the commencement of shooting.
o. The period when shooting is to begin; 6. Amendments, including the replacement of
p. A clause stipulating that the majority a Co-producer, may be made in the original
Co-producer shall take out an contract, but they must be submitted for
insurance policy covering at least approval by the competent authorities
all production risks and all original before the Co-Production is nished. The
material production risks; and replacement of a Co-producer may be
q. A clause providing for the sharing of allowed only in exceptional cases and for
the ownership of copyright on a basis reasons satisfactory to both the competent
that it is proportionate to the respective authorities.
contributions of the Co-producers. 7. The competent authorities will keep
3.4 the distribution contract, where it has each other informed of their respective
already been signed, or a draft if it has decisions.
yet to be concluded;

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 or videodisc, which can be shown
the Government of Italian Republic, hereinafter in cinemas, on television or on
referred to as the parties, video recorders jointly invested
CONSIDERING that it is desirable to establish in and produced by producers
a framework for the development of their from the two countries and made
audiovisual relations and particularly for lm in accordance with the terms of
television and video Co-Productions; recognition given by the competent
CONSCIOUS that quality Co-Productions can authorities of India and Italy
contribute to the further expansion of the lm, under this Agreement. New forms
television and video production and distribution of audio-visual production and
industries of both countries as well as to the distribution shall be included in the
development of their cultural and economic present Agreement by exchange
exchanges; of notes between the Parties.
CONVINCED that these exchanges will (ii) Co-Production projects
contribute to the enhancement of relations undertaken under the present
between the two countries; Agreement must be recognized by
Have agreed as follows: the following authorities, referred
ARTICLE 1 to hereinafter as the competent
In this Agreement, unless the Agreement authorities:
otherwise requires: a. In Italy- by the Ministry of Cultural
(i) A Co-Production is a lm including Properties and Activities, Department
feature lms, documentaries, of Entertainment and Sport, General
science lms, animation lms Management of Cinema; and
and commercials, irrespective of b. In India by the Ministry of Information
length, either on lm, videotape and Broadcasting.

(iii) Co production produced under of the obligations created by

the terms of this Agreement European Union Italy as a
shall be taken in either of the two member.
countries as National Production (ii) In the event of dire need of Co-
with every benet available as Production, persons other than
National Production but will abide citizen or permanent resident as
by applicable national law for
stated hereinabove are permissible
distribution and production. These
to be engaged without losing the
benets, however, accrue to the
character of Co-Production in case
producer from the country, which
advance written permission from
grants them.
both the countries is obtained after
ARTICLE 2 explaining the reasons of inclusion
(i) The co- producers in either of such person.
of the two countries shall ARTICLE 5
satisfy themselves about each
others capability, including (i) Live action shooting and animation
their professional knowledge, works such as storyboards, layout,
organizational capability, nancial key animation, in between and
backing and professional voice recording must, in principle,
reputation. be carried out alternatively in Italy
or in India.
(ii) The Government of India and Italy
shall in no way be responsible or (ii) Location shooting, exterior
liable with regard to satisfaction or interior, in a country not
of either of the co producers. participating in the Co-Production
however, is acceptable at
ARTICLE 3 discretion if the script or the action
(i) Any benets under this Agreement so requires and if technicians from
shall be available for co production Italy and India take part in the
only when investment of nance, shooting.
material and management including
(iii) The laboratory work shall be done
creative and other inputs not below
in either Italy or India, unless it is
20% of the total cost comes from
technically impossible to do so, in
Co-producer of one country provided
which case the laboratory work in
always that specic percentage
contribution will be decided amongst a country not participating in the
producers themselves. Co-Production can be permitted
by the competent authorities of
(ii) Notwithstanding anything stated both countries.
in above paragraph, the two parties
may at any time decide jointly ARTICLE 6
in writing to make appropriate (i) The Co-Production shall have the
changes, in percentage, as maybe original soundtracks in English or
deemed t. Italian or in other Indian language
ARTICLE 4 or dialect, which can further be
dubbed in any of these languages.
(i) The producers of a Co-Production
shall be citizens or permanent (ii) In the event, if script so desires,
resident either of Italy or India any other language can be used for
subject to any sort of compliance stray dialogues with permission
from authorities

(iii) It will be necessary that the proportional to their respective

dubbing or sub-titling of the contributions and be species
Co-Production will be done or in the agreement between the
performed either in India or Italy. co producers. The respective
Dubbing or sub-titling in Indian contribution of each Co-producer
languages should be performed may be decided mutually on the
in India and dubbing or sub-titling basis of principles elaborated in
in Italian in Italy and dubbing Article 3.
or sub-titling in English could
ARTICLE 10
be performed in Italy or India
depending upon the agreement (i) The minority investment Co-
between Co-producers. producer shall pay any balance
outstanding on his contribution
ARTICLE 7 to the majority investment
(i) A Co-produced lm shall have Co-producer within sixty (60)
two negatives or one negative and days following delivery of all
one dupe negative, or as agreed the materials required for the
between the two Co-producers, production of the version of the
with two international sound lm in the language of the minority
tracks for making copies. Each country. The majority investment
Co-producer shall own one good Co-producer will have the same
quality print, one dupe positive obligations towards the minority
and one international sound track investment Co-producer.
and have the right to make copies. (ii) Failure to meet this requirement
Moreover with the approval of the shall entail the loss of benet of the
Co-producers either Co-producer Co-Production. This requirement
may use the footage from the will invariably be reected in the
above-mentioned material for contract drawn up between the
other purposes. Furthermore, Co-producers to enable projects
each Co-producer shall have to be recognized under this
access to the original production Agreement.
material in accordance with the
conditions agreed upon between ARTICLE 11
the Co-producers. (i) Approval of a proposal for the
Co-Production of a lm by the
ARTICLE 8
competent authorities of both
(i) Both Italy and India will facilitate countries is in no way binding upon
entry and short stay in either of the them in respect of the granting of
two countries for directors, actors, permission to show the lm thus
producers, writers, technicians and produced.
other personnel prescribed in each
co production contract as per the ARTICLE 12
applicable laws and importing of (i) When a Co-produced lm is
equipment shall also be in accordance exported to a country, which has
with the applicable laws. quota limitations:
ARTICLE 9 a. in principle, the Co-produced lm shall
be included in the quota of the country
(i) The sharing of revenues by he
of the majority investment;
co-produces shall, in principle, be

b. if both Co-producers have made an (ii) Prizes, grants, incentives and

equal investment, Co-producers of other benets awarded to the
both sides shall decided the quota in cinematographic or audiovisual
question through mutual consultation, works may be shared between
so that the Co-produced lm can be the Co-producers, in accordance
included in the quota of the country with what has been established in
that can make better arrangements for the Co-Production contract and in
the export of the lm; conformity with applicable laws in
c. if difculties still exist, the co produced force.
lm shall be included in the quota of the (iii) All prizes which are not in cash
country of which the director is a national form, such as honorable distinctions
(ii) Notwithstanding the above, in the or trophies awarded by third
event that one of the Co-producing countries, for cinematographic
countries enjoys unrestricted and audiovisual works produced
entry of its lms into a country according to the norms established
that has quota regulations, a by this agreement, shall be kept in
Co-Production under this trust by the majority Co-producer
Agreement shall be entitled as or according to terms established
any other national production of in the Co-Production contract/
that country to unrestricted entry agreement.
into the importing country if that ARTICLE 15
country so agrees.
(i) The competent authorities of both
ARTICLE 13 countries shall jointly establish,
(i) A Co-Production shall when shown, through a subsequent exchange
be identied as an Italy-India of notes the rules of procedure
Co- Production; or India-Italy Co- for Co-Productions, taking into
Production according to the origin account the laws and regulations
of the majority Co-producer or in in force in Italy and in India.
accordance with an agreement ARTICLE 16
between Co-producers.
(i) No restrictions shall be placed
(ii) Such identication shall appear on the import, distribution and
in the credits, in all commercial exhibition of Indian lm, television
advertising and promotional and video productions in Italy
material and whenever the Co- or that of Italian lm, television
Production is shown. and video productions in India
ARTICLE 14 other than those contained in
the legislation and regulations in
(i) In the event of presentation at
force in each of the two countries,
international lm festivals, and
including in case of Italy the
unless the Co-producers agree
obligation deriving from the norms
otherwise, a Co-Production shall
of the European Union insofar
be entered by the country of the
as the free circulation of goods
majority investment Co-producer
among Italy and other European
or, in the event of equal nancial
Union countries in concerned, will
participation of the Co-producers,
be respected.
by the country of which the

ARTICLE 17 well as t improve it in the best

(i) Any difference or dispute interest of both countries. The
regarding the implementation of recommendations of the Joint
this Agreement shall be settled Commission are not binding on the
by mutual consultation and two Governments.
negotiation. This does not absolve ARTICLE 18
the right of co producers who enter
(i) The present Agreement shall
into various contracts to seek legal
come into force when each
remedies- such remedies may
Party has informed the other
include conciliation, mediation and
that its international ratication
arbitration.
procedures have been completed.
(ii) The rights arising out of this
(ii) It shall be valid for a period of
Agreement will not be enforceable
three (3) years from the date of
at the instance of third party (ies)
its entry into force, a tacit renewal
who are not signatory to this
of the Agreement for like periods
Agreement.
shall take place unless one or the
(iii) An appropriate Joint Commission other Party gives written notice of
may look after the implementation termination six (6) months before
of this Agreement. A meeting the expiry date.
of the Joint Commission shall
(iii) Co-Productions which have been
take place in principle once every
recognized by the authorities and
two years alternately in the
which are in progress at the time
two countries. However, it may
of notice of termination of this
be convened for extraordinary
Agreement by either Party shall
sessions at the request of one or
continue to benet fully until
both authorities, particularly in
completion from the provisions
the case of major amendments to
of this Agreement. After expiry
the legislation or the regulations
or termination of this Agreement,
governing the lm television and
its terms shall continue to apply
video industries in one country or
to the division of revenues from
the other, or where the application
completed Co-Productions.
of this Agreement present various
difculties and shall submit to the (iv) DONE in three originals at Rome,
Authorities in the two countries, this 13th Day of 2005, each
for consideration, the necessary in Italian, English and Hindi
amendments in order to resolve language, all versions being
any difculties arising from the equally authentic. In case of any
application of this agreement as divergence in interpretation, the
English text shall prevail.
In Witness Whereof, the undersigned, duly authorized thereto by their respective Governments,
have signed this Agreement.
For the Government of the For the Government of

Republic of INDIA ITALIAN Republic

NEW ZEALAND
AGREEMENT ON AUDIO-VISUAL CO-PRODUCTIONS BETWEEN
THE GOVERNMENT OF NEW ZEALAND AND THE GOVERNMENT
OF THE REPUBLIC OF INDIA.
Th
The GGovernmentt off th
the R
Republic
bli off I
India
di and
d (i) nationals/citizens
ti l / iti off the
th Republic
R bli
the Government of New Zealand (the parties) of India;
SEEKING to enhance cooperation between (ii) permanent residents of India; and
their two countries in the area of lm;
(iii) entities which are established and/
DESIROUS of expanding and facilitating the
or incorporated in India.
Co-Production of lms which may be conducive
to the lm industries of both countries and to b. as regards the New Zealand - to be
the development of their cultural and economic indicated -
exchanges; 3. Film means an aggregate of images, or
CONVINCED that these exchanges will of images and sounds, embodied in any
contribute to the enhancement of relations material, irrespective of length, including
between the two countries; animation and documentary productions,
HAVE AGREED as follows: produced in any format, for exploitation
ARTICLE 1 in theatres, on television, videocassette,
videodisc, CD-ROM, DVD or by any other
Denitions
form of distribution. New forms of
For the purposes of this Agreement
audiovisual production will be included in
1. Competent authorities shall be:
this Agreement, through the exchange of
a. on behalf of the Republic of India, the notes between the Contracting Parties.
Ministry of Information and; and
ARTICLE 2
b. On behalf of the Government of New
Zealand - to be indicated - Competent authorities
1. The competent authorities responsible
2. Co-producer shall be:
for the implementation of this Agreement
a. as regards the Republic of India: shall be as dened in Article 1.

2. Co-Productions falling within the scope technical staff persons may substitute for
of this Agreement shall be subject to the one leading actor.
approval of the competent authorities. 6. The Co-producers in either of the two
3. The Contracting Parties shall inform each countries shall satisfy themselves about
other if the competent authorities are each others capability, including their
replaced by others. professional knowledge, organizational
capability, nancial backing and
ARTICLE 3 professional reputation. The Contracting
Recognition as a National lm and Entitlement Parties are not responsible or liable for the
to Benets credentials of either of the Co-producers.
Views to be indicated later. 7. The company carrying out the Co-
ARTICLE 4 Production shall provide evidence that
Conditions for obtaining approval of Co- the primary business of that company
Production status is audiovisual (lm, television and video)
1. Co-Production lms shall require, prior to production.
the commencement of shooting, approval 8. The sharing of expenses and revenues
by both the competent authorities. shall be as mutually decided by the Co
Approvals shall be in writing and shall Producers.
specify the conditions upon which approval
ARTICLE 5
is granted.
Contributions
2. In considering proposals for the making of
1. Any benets under this Agreement shall
a Co-Production lm, both the competent
be available for the Co-Production only
authorities, shall with due regard to their
when investment of nance, material and
respective policies and guidelines, apply
management including creative and other
the rules set out in the Annex to this
inputs is not below 20 % (twenty percent)
Agreement.
of the total cost coming from the Co-
3. The Co-producers of a lm shall have their producer of one country. The proportion
principal ofce or a branch ofce in the of the respective contribution of the co
territory of one of the Contracting Parties. producers of the Parties may vary from
None of the Co-producers shall be linked 20% (twenty percent) to 80% (eighty
by common management, ownership or percent).
control.
2. Subject to prior approval and in exceptional
4. Technical and artistic personnel are those cases both Competent Authorities may
persons who, in accordance with the approve Audiovisual Co-Productions
domestic law in force in their own country, where:
are recognized as makers of audio-visual
a. the contribution by one Co-producer is
productions, in particular screenwriters,
limited to the provision of nance only,
directors, composers, editors, directors
in which case the proposed nance-
of photography, art directors, actors and
only contribution shall be 50% (Fifty
sound technicians. The contribution of
per cent) or more of the total budget of
each of these persons shall be evaluated
the Audiovisual Co-Production; or
individually.
b. Despite falling outside the contribution
5. As a rule, the contribution includes at least
rules, the Competent Authorities
one leading actor, one supporting actor
consider that the project would further
and/or one qualied technical staff person,
the objectives of this Agreement and
in addition to the one person as referred to
should be approved accordingly.
in paragraph (4) provided that two qualied

3. Both the nancial contribution, and the b. in exceptional circumstances, restricted

performing, technical, craft and creative numbers of technical personnel from
participation of each Co-producer shall other countries may be engaged
account for at least 20% (twenty per
ARTICLE 8
cent) of the total effort in making the Co-
Production lm. Film Processing, Laboratory work, Negatives
and Languages etc.
ARTICLE 6 1. The processing of lm including the
Minority and majority contribution in the case laboratory work, digital intermediate,
of multilateral Co-Productions visual and special effects work shall be
1. Subject to the specic conditions and limits done in either India or New Zealand unless
laid down in laws and regulations in force it is technically impossible to do so, in
in the Contracting Parties, in the case of which case the Competent Authorities of
multilateral Co-Productions, the minority both countries may authorize such work
contribution may not be less than 10% (ten in a country not participating in the co
per cent) and the majority contribution production.
may not exceed 70% (seventy per cent) of 2. At least 90% (ninety per cent) of the
the total cost of the lm. footage included in a Co-Production lm
2. Both Competent Authorities shall also shall be specially shot or crated for the
look favourably upon co production to be lm unless otherwise approved by the
undertaken with any other country linked competent authorities
with India and New Zealand by an ofcial 3. Two negatives, or at least one negative and
co production agreement. one duplicate negative, shall be made of all
ARTICLE 7 Co-produced lms. Each Co-producer shall
be entitled to make a further duplicate
Participants
or prints there from. Each Co-producer
1. The persons participating in the production
shall also be entitled to use the original
of a lm shall fulll the following
negative in accordance with the conditions
requirements:
agreed upon between the Co-producers
a. As regards the Republic of India, they themselves.
shall be -
4. The original soundtrack of each Co-
(i) Nationals/Citizens of the Republic Production lm shall be made in Hindi or
of India or any other Indian language or dialect or,
(ii) Permanent residents of India; in English or ----- or in any combination of
b. As regards the New Zealand - to be those permitted languages. Dialogue in
indicated other languages may be included in the
Co-Production, as the script requires.
Participants in the Co-Production as dened in
sub paragraphs (a) and (b) must at all times 5. The dubbing or subtitling into one of the
throughout the production retain their national permitted languages of the Republic of
status, and may not acquire or lose such status India or New Zealand shall be carried
at any point during the course of production out in the Republic of India, or in the New
activity. Zealand. Any departure from this principle
2. Subject to the approval of the competent must be approved by the competent
authorities: authorities.
a. where script or costs dictates, 6. Post-release print dubbed into any other
restricted numbers of performers from language may be carried out in third
other countries may be engaged; countries

7. The soundtrack may contain sections of for its export, if the respective contributions
dialogue in any language in so far as is of the Co-producers are equal;
required by the script. c. of which the director is a national, if any
ARTICLE 9 difculties arise with the application of
sub-paragraphs (a) and (b) hereof.
Location Shooting
1. Live action shooting and animation works 2. Not withstanding Paragraph 1, in the event
such as storyboards, layout, key animation, that one of the Co-producing countries
in between and voice recording must, in enjoys unrestricted entry of its lms into
principle, be carried out either in India or a country that has quota regulations, a
in New Zealand. Co-Production undertaken under this
Agreement shall be as entitled as any
2. The Competent Authorities may approve
other national production of the above-
location shooting in a country other than
mentioned Co-producing country to
those of the participating Co-producers
unrestricted entry into the importing
if the script or action so requires and if
country if that above-mentioned Co-
technicians from India and New Zealand
producing country so agrees.
take part in the shooting.
3. Notwithstanding Article 7, where location ARTICLE 12
shooting is approved in accordance with Acknowledgements, Credits
the present Article, citizens of the country A Co-Production lm and the promotional
in which location shooting takes place may material associated with it shall include either
be employed as crowd artists, in small a credit title indicating that the lm is an
roles, or as additional employees whose Ofcial Indian-New Zealand Co-Production
services are necessary for the location or an Ofcial New Zealand Indian Co-
work to be undertaken. Production or , where relevant, a credit which
reects the participation of the Republic of
ARTICLE 10
India, New Zealand and the country of a third
Entry in International Festivals Co-producer.
1. The majority Co-producer shall normally
ARTICLE 13
enter Co-produced lms in international
festivals. Temporary Entry into the country
For approved Co-Productions, each Contracting
2. Films produced on the basis of equal
Party shall facilitate, in accordance with the
contributions shall be entered as a lm
domestic law in force in its country:
of the country of which the director is a
a. Entry into and temporary residence in
national, and if this is not possible then
its territory for technical and artistic
the lm shall be submitted as a lm of
personnel of the other Contracting
the country of which the lead actor is a
Party;
national, subject to the agreement of the
competent authorities of both Contracting b. the import into and export from
Parties. its territory of technical and other
lmmaking equipment and materials
ARTICLE 11 by producers of the other Contracting
Export of Co produced Film Party.
1. Where a Co-Production is exported to a
ARTICLE 14
country that has quota regulations, it shall
be included in the quota of the Party: Permission for Public Exhibition
1. Permission for public exhibition will be in
a. which is the majority Co-producer;
accordance with local laws in both India
b. that has the best opportunity of arranging and New Zealand.

2. The approval of Co-Production status 3. Modications to the Annex shall be

under this Agreement will not mean a conrmed by the competent authorities
commitment to permit public exhibition of in writing and shall take effect on the date
the Audiovisual Co-Production. they specify.
ARTICLE 15 ARTICLE 18
Balanced contribution Entry into Force
1. A general balance should be maintained Each of the Parties shall notify the other in
with regard to both the artistic and writing through the diplomatic channel of the
technical personnel, including the cast, completion of any procedure required by its
and with regard to the nancial investment constitutional law for giving effect.
and facilities (studios, laboratories, and ARTICLE 19
postproduction).
Amendment
2. The Joint Commission, established in terms 1. Subject to paragraph 2 of this Article, this
of Article 16, shall carry out a review to see Agreement may be amended by written
whether this balance has been maintained agreement between the two parties
and, if this is not the case, shall take through an exchange of diplomatic notes.
measures, which it considers necessary in Amendments shall take effect on the date
order to re-establish such a balance. specied in the notes.
ARTICLE 16 2. Either Party may by diplomatic note notify
Joint Commission the other of a change in its competent
1. The Joint Commission shall be composed authority. The change shall take effect on
of representatives from the Competent the date specied in the note.
Authorities and from the audio-visual ARTICLE 20
industry of both the contracting parties.
Settlement of Disputes
2. The role of the Joint Commission shall be Any dispute between the Contracting
to supervise and review the operation of Parties arising out of the interpretation or
this Agreement and to make any proposals implementation of this Agreement shall be
considered necessary to improve the effect settled consensually through consultation and
of the Agreement. negotiation.
3. The Joint Commission shall be convened, ARTICLE 21
whether by meeting or otherwise, at the
Duration and Termination
request of either of the Parties within six
1. The term of this Agreement shall be for a
months of such a request.
period of three years from the date it enters
ARTICLE 17 into force and thereafter automatically
Status of Annex renewed for further periods of three years.
1. The Annex to this agreement constitutes 2. Either Contracting Party may terminate
an implementing arrangement in respect this Agreement by giving six months
of this Agreement and shall be read in written notice in advance of such intention
conjunction with the provisions of this to the other Contracting Party through the
Agreement diplomatic channel.
2. Subject to paragraph 2 of Article 18, any 3. Termination of this Agreement shall
modications to the Annex shall be agreed have no effect on the comple-tion of
by both the competent authorities. No Co-Productions approved prior to its
modications to the Annex shall conict termination.
with the provisions of this Agreement.

Done at ______________________-this ____day of ______________, ________in the English and

Hindi languages, both texts being equally authentic. In case of any divergence in interpretation,
the English text shall prevail.
For the Government of For the Government of

Republic of INDIA NEW ZEALAND
Annexure to Agreement between the copyright for the Co-Production has

Government of the Republic of India and the been legally acquired;
Government of the ____________________ on 3.3 a copy of the Co-Production contract
Audio Visual Co-Productions signed by the two Co-producers.
The contract shall include -
(Rules of procedure for applications for
a. the title of the Co-Production;
approval of Co-Production status under this
agreement) b. the name of the author of the script, or
1. Applications for qualication of a lm that of the adaptor if it is drawn from a
for Co-Production benets under this literary source; necessary permission
Agreement for any Co-Production must be for adapting the literary work into a
made simultaneously to both competent lm from the author/legal heirs may
authorities at least thirty (30) days before be attached;
shooting begins. c. the name of the director (a substitution
2. The competent authority of both Parties clause is permitted to provide for his/
shall communicate their proposal to the her replacement if necessary);
other competent authority within twenty d. the budget;
(20) days of the submission of the complete e. the nancing plan;
documentation as described in paragraph
f. a clause establishing the sharing
3 below.
of revenues, markets, media or a
3. Documentation submitted in support of an combination of these;
application shall consist of the following
g. a clause detailing the respective shares
items, drafted in _________in the case
of the Co-producers in any over or
of _______ and in English in the case of
under expenditure, which shares shall
India:
in principle be proportional to their
3.1 The nal script and synopsis; Co- respective contributions, although the
Productions under this Agreement minority Co-producers share in any
shall be shot in ____________or India, over expenditure may be limited to a
as the case may be, in accordance lower percentage or to a xed amount
with the guidelines of the respective providing that the minimum proportion
country; The Parties shall inform each permitted under Article 9 of the
other from time to time of relevant Agreement is respected;
guidelines and any changes thereto.
h. a clause stating that the competent
3.2 Documentary proof of having legally
acquired the rights to produce and
percentage of the contribution of a co-
exploit the Co-Production and that the
producer changes subsequent to the

approval of the competent authorities; it is proportionate to the respective

in any case, the contribution may not contributions of the Co-producers.
be less than the minimum contribution 3.4 the distribution contract, where it has
agreed in Article 9; already been signed, or a draft if it has
i. a clause stating that lms Co-produced yet to be concluded;
under this Agreement may be publicly 3.5 a list of the creative and technical
exhibited in either country in accordance personnel indicating their nationalities
with prescribed rules/procedures; and, in the case of performers, the
j. a clause recognizing that admission to roles they are to play;
3.6 the production schedule;
benets under this Agreement does
3.7 the detailed budget identifying the
not constitute a commitment that
expenses to be incurred by each
governmental authorities in either
country; and
country will grant a license to permit
3.8 all contracts and other relevant
public exhibition of the Co-Production;
nancial documentation for all
k. a clause prescribing the measures to participants in the nancial structure.
be taken where: 4. The competent authorities can demand any
(i) after full consideration of the further documents and all other additional
case, the competent authorities in information deemed necessary.
either country refuse to grant the 5. In principle, the nal shooting script
benets applied for; (including the dialogue) should be
(ii) the competent authorities prohibit submitted to the competent authorities
the exhibition of the Co-Production prior to the commencement of shooting.
in either country or its export to a 6. Amendments, including the replacement of
third country; a Co-producer, may be made in the original
(iii) either one or the other Party fails contract, but they must be submitted for
to fulll its commitments; approval by the competent authorities
l. the period when shooting is to begin; before the Co-Production is nished. The
replacement of a Co-producer may be
m. a clause stipulating that the majority
allowed only in exceptional cases and for
Co-producer shall take out an
reasons satisfactory to both the competent
insurance policy covering at least
authorities.
all production risks and all original
material production risks; and 7. The competent authorities will keep
each other informed of their respective
n. a clause providing for the sharing of the
decisions.
ownership of copyright on a basis that

POLAND
OF POLAND AND THE GOVERNMENT OF THE REPUBLIC OF
INDIA ON AUDIOVISUAL CO-PRODUCTION.
The government of the republic of poland nanced and produced by Co-producers

and the government of the republic of india from Poland and India; recorded on lm or
hereinafter referred to as the Parties: magnetic tape or on a digital medium; and
CONSIDERING it desirable to establish a legal intended for public dissemination in any
framework for relations regarding audiovisual way, especially in the cinema, on television
Co-Production, especially the production of or on analogue or digital data carriers. The
lms for the cinema and television, as well term Co-Production shall also mean
as lms intended solely for dissemination on a plan to produce and the process of
analogue or digital data carriers; producing such a lm.
AWARE that a high quality of Co-Production 2. Each Co-Production undertaken under this
may encourage the development of enterprises Agreement, after it has fullled all the
and institutions which produce, distribute and conditions herein, must gain approval from
disseminate lms and enhance cultural and the following Competent Authorities:
economic exchange between both States;
(i) In the Republic of Poland the
CONVINCED that such exchange shall
Minister of Culture and National
strengthen relations between both States;
Heritage,
Have agreed as follows:
(ii) In the Republic of India the
ARTICLE 1
Ministry of Information, Radio and
1. For the purpose of this Agreement, the Television.
term Co-Production shall mean a feature
(iii) Each Co-Production undertaken
lm intended for screening in the cinema
under this Agreement shall be
as the primary eld of exploitation, as
realized and disseminated in
well as a documentary, educational and
accordance with the law in force
animated lm, regardless of length, jointly
in Poland and in India.

(iv) Unless otherwise provided for the Competent Authorities may approve a Co-
under the laws in force in Poland Production which does not satisfy all of these
and India, each Co-Production requirements.
undertaken under this Agreement ARTICLE 5
shall be regarded a domestic
1. The Competent Authorities may approve a
production in each State-Party
Co-Production involving, apart from Polish
in order to obtain all present and
and Indian Co-producers, Co-producers
future benets conferred upon
from third countries which are parties to an
domestic productions in these
audiovisual Co-Production agreement with
two States. Nevertheless, such
at least one of these States (multilateral
benets shall be due only to Co-
Co-Production).
producers from the country which
confers these benets. 2. The minimum contribution by a Co-
producer in a multilateral Co-Production
ARTICLE 2 should be ten percent (10%) of the Co-
Each Co-producer must possess broad Productions budget. Article 3 para 2 of this
professional experience, good technical Agreement shall apply as appropriate.
organization, considerable organization
ARTICLE 6
abilities, strong nancial support and a good
reputation. These qualities shall be veried by 1. Filming and animation work, including
the parties to co-production agreements, and the storyboard, layour, key animation and
no clause in this Agreement shall give rise to in between as well as sound recording,
any liability by the Competent Authorities or should be carried out in Poland or India.
Governments to conduct such a verication. 2. The lming of scenes in the open air
ARTICLE 3 or indoors may be performed in a third
country if the screenplay or plot requires
1. The contribution of Co-producers from
it and if Polish and Indian technicians are
each State should range from twenty
involved in this work.
percent (20%) to eighty percent (80%) of
the budget of each Co-Production. 3. Laboratory processing shall be carried
out in Poland or India, unless this is not
2. The Co-producers from each State
possible for technical reasons. In such
should make a tangible creative and
a case, the Competent Authorities may
technical contribution to a Co-Production
permit the laboratory processing to be
in proportion to their share in its budget,
carried out in a third country.
encompassing the total engagement of
lmmakers, actors, technical-production ARTICLE 7
personnel, laboratories and facilities. In 1. The original soundtrack of each Co-
justied cases, the Competent Authorities Production shall be recorded in Polish,
may approve a Co-Production which does English or one of the languages or dialects
not satisfy all of these requirements. of India (languages of the Parties). Dubbed
ARTICLE 4 soundtracks in any of these languages may
be recorded in Poland or in India. A lm
Producers, directors, screenwriters and
may be made in more than one language
actors, as well as technicians and remaining
of the Parties version. Dialogues may
staff engaged in the Co-Production, must
also be recorded in other languages if the
hold Polish or Indian citizenship or have their
screenplay requires this.
place of abode or permanent residence in
one of these States, in accordance with the 2. Each language version of each Co-
domestic law of each State. In justied cases, Production (dubbing or subtitles) shall

be produced in Poland and in India, as ARTICLE 11

appropriate. Any departures from this No provision of this Agreement shall imply that
rule must be approved by the Competent the approval of Co-Production or the granting
Authorities. of any associated benets by the Competent
ARTICLE 8 Authorities signies an obligation by any of the
Governments so grant a license, concession,
1. Each Co-Production shall be made in at least
permit or similar decision to Co-producers or
two copies of good picture quality, of equal
any other persons for the dissemination of a
legal validity, and in two international sound
Co-Production. Neither shall any such provision
copies, on media which permit independent
imply that these Authorities consider a Co-
distribution in Poland and India.
Production justied or bear any responsibility
2. The original negatives, as well as the nal for it.
version of back up copies and master
ARTICLE 12
copy, shall be stored in the country of the
majority Co-producer or in another place 1. If a Co-Production is exported to a third
agreed upon between the Co-producers. country which applies a maximum quota of
Regardless of the place of storage, each such imports, the Co-Production shall be
Co-producer should have guaranteed included in the quota of the majority Co-
access to these materials at any time, so producing State.
that he may make essential reproductions 2. If there is no majority Co-producing State,
under terms and conditions agreed upon the Co-Production shall be included in
between the Co-producers. the quota of that State-Party which, in
3. At least two backup copies of medium the joint opinion of the Co-producers, has
and high-budget Co-Productions shall better chances of exporting the lm. In
be made. If the Co-producers so agree, the absence of agreement between the
only one backup copy and one copy of the Co-producers, the Co-Production shall
materials for reproduction may be made be included in the quota of the country of
in the case of Co-Productions deemed which the director is a citizen.
to be low budget Co-Productions by the 3. If one of the State-Parties enjoys an
Competent Authorities. unlimited right to export its lms to a third
country which applies a maximum quota of
ARTICLE 9 such imports, the Co-Production, like any
In accordance with the laws in force in their other domestic production of the State-
States, the Parties shall: Party, shall be the subject of unlimited
1. Permit producers, copywriters, directors, exports to that third country, with the
technicians, actors and other personnel approval of that countrys Competent
Authorities.
specied in each Co-Production agreement
to enter and briey stay in their country, ARTICLE 13
2. Permit the lm equipment and tapes 1. Each Co-Production destined for
required for Co-Production to be brought presentation shall be endorsed with the
into and taken out of the country. caption A Polish Indian Co-Production
or An Indian-Polish Co-Production,
ARTICLE 10
depending on the majority Co-producers
The division of revenues between Co-producers country of origin. In the absence of such
should correspond to their contribution to the a Co-producer, the Co-Production shall be
Co-Production, taking into account Article 3 endorsed in accordance with the terms of
para 2 of this Agreement, and should be clearly the Co-Production ent.
stated in the Co-Production agreement.

2. The caption referred to in para 1 shall be realization of this Agreement by means of

accommodated in the opening credits negotiations.
and in all advertising and promotional 2. For the purpose of a further expansion of
materials, especially whenever such a Co- co-operation between the two States in
Production is presented. the sphere of audiovisual Co-Production,
ARTICLE 14 the Parties express their readiness to
introduce all necessary amendments and
1. Unless otherwise agreed upon by the
additions to this Agreement in the manner
Co-producers, if a Co-Production is to be
foreseen in the laws of both States.
presented at an international lm festival,
it shall be submitted by the majority Co- 3. To facilitate the application of this
producers country or, in the absence Agreement, the Parties or Competent
thereof, by the country of which the lm Authorities may appoint a Joint
director is a citizen. Commission which will normally meet
every two years, alternately in Poland and
2. Prizes, grants and other distinctions
in India. The Commission may also be
granted for the Co-Production shall be
convened for an extraordinary meeting at
divided between the Co-producers in
the motion of the Competent Authorities or
accordance with the terms of the Co-
one or both Parties, especially in the event
Production agreement and the laws in
of signicant changes to the legislation of
force in both States.
any of the States-Parties which could affect
3. All non-pecuniary awards granted for the the implementation of this Agreement, or
Co-Production, especially any honorary in the event of major difculties with its
distinctions and statuaries conferred by a implementation.
third country or by an organization from a
third country, shall be kept by the entity ARTICLE 16
specied in the Co-Production agreement 1. This Agreement is subject to acceptance
or, in the absence thereof, by the majority in accordance with the laws of each Party,
Co-producer. which shall be effected by means of an
exchange of memoranda. The date on
ARTICLE 15
which this Agreement enters into force
The producers governing the application of shall be the date on which the later of the
this Agreement, taking into account the law in two memoranda is received.
force in Poland and in India, are set forth in an
2. This Agreement is concluded for an
Appendix to this Agreement and thus form an
indenite period. Either Party may
integral part thereof.
terminate it with six months notice,
ARTICLE 16 conveyed to the other Party in writing.
The Parties shall impose no restrictions on the 3. Any Co-Productions approved by the
import, distribution and dissemination of Polish Competent Authorities and being realized
and Indian lms to be shown in the cinema or at the moment of termination of this
on television, or destined solely for distribution Agreement by either party shall continue
on analogue or digital data carriers, to the extent to be bound by the terms thereof until
permitted under the laws of Poland and India. they are completed. If this Agreement
ARTICLE 17 expires or is terminated, its provisions will
1. The Parties and Competent Authorities be applied to the division of revenues from
shall resolve any disputes during the completed Co-Productions.

In witness whereof the undersigned, duly authorized by their respective Governments, have
signed this Agreement.
Done in on.in two counterparts, each of them in Polish and in English, whereby
all texts are equally authentic.
For the Government of For the Government of

Republic of INDIA Republic of POLAND
APPENDIX c. The name of the director,

PROCEDUTES d. A synopsis,
General Provisions e. A budget plan,
Applications for any benets under this
f. A nancial plan, stating the nancial
Agreement in aid of any Co-Production
input of the Co-producers,
must be submitted simultaneously to the
Competent Authorities at least sixty (60) g. A clause dening the division of
days before lming begins. The Competent revenues and markets,
Authorities of the State of which the majority h. A clause setting forth a share in the
Co-producer or another Co-producer indicated copyright in proportion to the input of
by the Co-producers is a citizen shall convey individual Co-producers,
their decision to the Competent Authorities of i. A clause describing what to do if the
the other State within thirty (30) days of the budget is exceeded,
submission of the complete documentation
j. A clause describing the measures to
listed below. Again within thirty (30) days,
be taken (if one of the Parties does not
the Competent Authorities of the other State
discharge its obligations,
shall convey their decision to the Competent
Authorities of the rst State and to the Co- k. A clause setting forth the rules
producer appointed by the Co-producers. governing nancial settlements if
Applications should be supported by the following any Co-producer fails to provide the
documents, drawn up in Polish and English in nancial contribution agreed upon in
the case of Poland and in English and one of the the Co-Production agreement,
languages of India in the case of India: l. A clause conrming that the acceptance
1. Final version of the screenplay, of a Co-Production does not imply any
2. Evidence of the lawful acquisition of production will be distributed in the
States-Parties,
the copyright necessary to a given Co-
Production, m. A clause obligating the majority Co-
producer to take out an insurance
3. A signed copy of a Co-Production agreement
policy providing cover at least
concluded between Co-producers, which
against all production risks and
should contain:
all production risks connected with
a. The title of the Co-Production, original materials.
b. The name of the author of the n. The date on which lming
screenplay or of the person who commences.
adapted the screenplay, if it is based on
literary sources,

4. The distribution agreement, if such an 1. Permission from a person or his legal heir
agreement has already been concluded, who is to be portrayed in the lm; a copy of
5. A list of the lmmakers, actors and the permission should be attached to the
technicians, indicating their nationality screenplay,
and, in the case of actors, the names of 2. If it is necessary to obtain assistance
their characters, from the Ministry of Defence, Ministry of
6. A production schedule, Education, etc. separate agreements may
have to be concluded with these Ministries.
7. A detailed budget, showing the expenditures
Requests for such assistance may be
to be incurred by the Co-producers in each
submitted vis the MIRT,
country.
3. Each lm for whose production the
IMPORTANT PROVISIONS FOR INDIA
assistance of the Armed Forces has been
In addition, an application addressed to the
obtained must be presented to the Ministry
Indian Ministry of Information, Radio and
to the Ministry of Defence in order to obtain
Television (MIRT) should be accompanied
permission for its distribution.
by four copies of the screenplay and lm
synopsis, together with a payment mandate 4. In particular cases, a lm may have to
for USD 200 payable to the MIRT Department be presented to a representative of the
of Payments and Settlements. Government of India or to the Indian
If the lm is to be shot wholly or partly in Embassy in Poland before it can be shown
India, the Co-producers must provide the anywhere in the world. Also in particular
Indian Embassy in Poland and MIRT with the cases, a liaison ofcer may be assigned
following information: to a lm crew at the expense of the
1. Details of any non-Indian members of Government of India.
the lm crew: names, passport numbers CONCLUDING PROVISIONS
and expiry dates, country which issued The Competent Authorities may ask for any
the passport, nationality, permanent and additional documents or information which
temporary address. they consider essential in order to consider an
2. An accurate description of the shooting application for a Co-Production.
locations and the lm crews travel plans. The nal screenplay (with script) should be
3. A description of the cinematographic presented to the Competent Authorities prior
equipment and quantity of lm to be to the start of lming.
brought in to India temporarily. Amendments, including a change of Co-
producer, may be made to the original
Within three weeks of receipt of the required
Co-Production agreement. However, any
set of documents, the MIRT will send the
amendments must be submitted to the
appropriate lming permit to all Co-producers
Competent Authorities for approval before
and the Competent Authorities in the other
the Co-Production is completed. A change of
State. A longer period for issuing the lming
Co-producer is permissible only in exceptional
permit may be required if lming is to take
circumstances, and for reasons considered by
place in Jammu and Kashmir, north-eastern
the Competent Authorities to be satisfactory.
States and some border zones.
The Competent Authorities shall inform each
Permission to lm in India may be dependent
upon the following conditions: other of the decisions they have reached.

SPAIN
AGREEMENT OF AUDIOVISUAL CO-PRODUCTION
BETWEEN THE REPUBLIC OF INDIA AND THE
KINGDOM OF SPAIN.
The Republic of India and The Kingdom of the terms of recognition given by the
Spain (hereinafter, The Parties) competent authorities of India and Spain
Seeking to improve cooperation between the under this Agreement. New forms of
two countries in the audiovisual eld: aware audio-visual production shall be included
of the contribution which Co-Production can in the present Agreement by exchange of
make to the development of the audiovisual notes between the Parties.
industry. 2. The Competent Authorities responsible
Desirous of promoting and facilitating the Co- for the implementation of this Agreement
Production of lms between the two countries, shall be :
and the development of their cultural and
a. On behalf of the Republic of India,
economic exchanges.
by the Ministry of Information and
Convinced that these exchanges shall
Broadcasting.
contribute to improving relations between the
two countries: b. On behalf of the Kingdom of Spain, by
Have agreed as follows: the Instituto de la Cinematograa y de
las Artes Audiovisuales (Institute of
ARTICLE 1
Cinematography and Audiovisual Arts)
In this Agreement, unless the Agreement and when applicable, the competent
otherwise requires: authorities of the Autonomous
1. A Co-Production is a lm including communities where applicable.
feature lm, documentary, and animation
c. Co-Productions falling within the scope
lm irrespective of length, on any format
of this Agreement shall be subject
to be shown in the rst place in cinemas,
to the approval of the competent
jointly invested in and produced by Co-
authority.
producers made in accordance with

d. The Contracting parties shall inform ARTICLE 4

each other if the competent authorities 1. On a general basis, in Co-Productions there
are replaced by others. must exist an effective contribution of
3. Subject to the approval of both competent technical, creative and artistic personnel, of
authorities, a lm Co-produced in the nationality of the participant countries,
compliance with this Agreement shall which must be in proportion to the nancial
be deemed to be a national lm in the contribution made by each Co-producer.
territory of each Party and shall thus be 2. Technical and artistic personnel are those
fully entitled to all the benets which are persons who, in accordance with the
granted under the laws and regulations in domestic law in force in their own country,
force in the territory of each Party. are recognized as makers of audio-visual
ARTICLE 2 productions, in particular screenwriters,
directors, composers, editors, directors
1. The Co-producer in either of the two
of photography, art directors, actors and
countries shall satisfy themselves about
sound technicians. The contribution of
each others capability, including their
each of these persons shall be evaluated
professional knowledge, organizational
individually.
capability, nancial backing and
professional reputation. The contribution by a minority Co-producer
will include participation of at least two
2. The Contracting Parties shall in no way
actors and a head of Department in addition
be responsible or liable with regard to
to an author (author means director or
credentials of either of the Co-producers.
screenwriter or photography director or
ARTICLE 3 music composer).
1. Before shooting starts, Co-Production 3. Both the nancial contribution and the
lms shall require approval from both the participation of each of the Co-producers
competent authorities. For this purpose, in the performing, technical, artistic and
each Co-producer would be required creative tasks shall represent at least 20%
to submit an application, alongwith the (twenty percent) of the budget in making
information as required in the Annexure, to the Co-Production lms.
the Competent Authority. Approvals shall 4. As an exception to the contribution
be notied in writing and must specify the rules stated in paragraph 1 & 2 of this
conditions according to which the approval Article, both Competent Authorities
is granted. shall be able to grant approval to the Co-
2. The Co-producers of a lm shall have their Production projects known as nancial
principal ofce or a branch ofce in the Co-Productions in which the contribution
territory of one of the Contracting Parties. of one of the Co-producers is limited to
None of the Co-producers shall be linked only nancing, in which case nancial
by common management, ownership or contribution shall be no greater than 25%
control. (twenty ve percent) nor less than 10%
(ten percent) of the total cost of the lm.
3. Co-Productions falling within the scope
of this Agreement shall be subject to the ARTICLE 5
approval of both the Competent Authorities, 1. When India or Spain maintains an audio-
who would take into consideration their visual Co-Production agreement with a
respective policies and guidelines and the third country, the competent authorities
requisites laid down in Annexure to this shall, by virtue of this Agreement, be
Agreement. able to approve a Co-Production project
to be produced with the participation of

a Co-producer from a third party, whose 3. The processing and post-production of Co-
contribution may be no greater than 30%. Productions shall be done either in India
2. In the event of multilateral Co-Productions, or Spain, unless it is technically impossible
the lesser participation may be not lower than to do so, in which case the processing
10 percent and the greatest one not higher and post-production in a country not
than 70 percent of the cost of the lm. participating in the Co-Production may be
authorized by the competent authorities of
ARTICLE 6 both countries.
1. The producers of a Co-Production shall be
ARTICLE 9
Nationals/ citizens or permanent residents
either of India or Spain subject to any sort 1. The Co-Production shall have the original
of compliance of the obligations created by soundtracks either in Hindi, or in other
European Union upon Spain as a member. Indian language or dialect, or in Spanish
or in any other ofcial languages in Spain,
2. Participants in the Co-Production as
or English language or in any combination
dened in paragraph 1 must at all times
of those permitted languages, which
throughout the production retain their
can further be dubbed in any of these
national status, and may not acquire or
languages.
lose such status at any point during the
course of production activity. 2. In the event, if script so desires, any
other language can be used for stray
3. Should the lm so require, the participation
dialogues with permission from competent
of professionals who are not citizens of
authorities.
one of the Co-producing countries may
be permitted, but only in exceptional 3. It will be necessary that the dubbing or
circumstances, and subject to agreement sub-titling of the Co-Production will be
between the competent authorities of both done or performed either in India or Spain.
Contracting Parties. Dubbing or sub-titling in Indian languages
should be performed in India and dubbing
ARTICLE 7 or sub-titling into Spanish or in any other
The rights, revenues and prizes arising in ofcial languages in Spain should be
connection with the Co-Production shall be performed in Spain, and dubbing or sub-
shared between the Party Co-Producers in titling in English could be performed
a manner that shall be agreed between the in India or Spain depending upon the
Party Co-producers. agreement between Co-producers.
ARTICLE 8 ARTICLE 10
1. Live action shooting and animation works 1. The Co-Production lm and the promotional
such as storyboards, layout, key animation, material associated with it shall include
in between and voice recording must, in certain credit titles stating that the lm
principle, be carried out either in India or in is a Co-Production between India and
Spain. Spain or a Co-Production between Spain
2. Location shooting of a Co-produced and India or, when appropriate credit titles
lm, exterior or interior, in a country not reecting the participation of India, Spain
participating in the Co-Production may, and the country of a third Co-producer.
however, be authorized by the competent 2. Prizes, grants, incentives and other
authorities of both countries if the script benets awarded to the Co-produced
or the action so requires and if technicians work may be shared between the Co-
from India and Spain take part in the producers, in accordance with what has
shooting. been established in the Co-Production

contract and in conformity with applicable b. the import into and export from
laws in force. its territory of technical and other
3. All prizes which are not in cash form, lmmaking equipment and materials
such as honorable distinctions or trophies by producers of the other Contracting
awarded by third countries, for Co- Party.
produced work produced according to ARTICLE 13
the norms established by this agreement,
Permission for public exhibition will be in
shall be kept in trust by the majority Co-
accordance with local laws in both India and
producer or according to terms established
Spain.
in the Co-Production contract/ agreement.
ARTICLE 14
ARTICLE 11
Notwithstanding any other provision in this
1. When a Co-produced lm is exported to a Agreement, for the purpose of taxation the
country, which has quota limitations: laws in force in both the countries shall apply.
a. In principle, the Co-produced lm shall ARTICLE 15
be included in the quota of the country
1. There shall exist a Joint Commission
of the majority investment;
composed of representatives of the Parties,
b. If both Co-producers have made an including the competent authorities and
equal investment, Co-producers of representatives of the industry.
both sides shall decide the quota in
2. The role of the Joint Commission shall
question through mutual consultation,
consist of supervising and reviewing the
so that the Co-produced lm can be
application of this Agreement, making
included in the quota of the country
any proposal that is amended necessarily
that can make better arrangements for
for improving the effect of the Agreement
the export of the lm;
and modifying the appendix hitherto as
c. If difculties still exists, the Co- appropriate.
produced lm shall be included in
3. The Joint Commission shall be convened,
the quota of the country of which the
whether by meeting or otherwise, at the
request of either of the Parties, within six
2. Notwithstanding paragraph 1, in the months of such a request.
event that one of the Co-producing countries
enjoys unrestricted entry of its lms into ARTICLE 16
a country that has quota regulations, This Agreement shall come into force after
a co production undertaken under this each Party has informed the other Party
Agreement will be as entitled as any other through ofcial diplomatic channels that its
national production of the above-mentioned internal ratication procedures have been
Co-producing country to unrestricted entry completed.
into the importing country if that above- ARTICLE 17
mentioned Co-producing country so agrees.
This Agreement may be amended by the
ARTICLE 12 mutual consent of the Contracting Parties
For approved Co-Productions, each Contracting through the exchange of notes between the
Party shall facilitate, in accordance with the Contracting Parties through the diplomatic
domestic law in force in its country: channel. The change shall take effect on the
a. Entry into and temporary residence in date specied in the note.
its territory for technical and artistic
personnel of the other Contracting
Party;

ARTICLE 18 2. Either Contracting Party may terminate

Any dispute between the Parties arising out this Agreement by giving six months
of the interpretation or implementation of written notice in advance of such intention
this Agreement shall be settled consensually to the other Contracting Party through the
through consultation and negotiation and shall diplomatic channel.
not be referred for resolution to any national or 3. Notwithstanding the provisions of
international tribunal or a third party. paragraph 1 of this Clause, this Agreement
ARTICLE 19 shall continue in force with regard to any
Co-Production lm that has received
1. This Agreement including the Annex, which
approval from the competent authorities
forms an integral part of this agreement,
and which has not yet been completed
shall remain in force unless terminated in
prior to its termination.
terms of paragraph (2).
Done at _____________on the day _________ of__________________
in three originals each in Hindi, Spanish and English, all these versions being authentic.
For the Republic of INDIA For the Republic of SPAIN

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 from the making of such lms and their
of Great Britain and Northern Ireland and increased public availability; and
the Government of the Republic of India Noting on the basis of mutual cooperation, the
(hereinafter called the Parties): Agreement is intended to produce benets for
Considering that there is potential for the lm both parties.
industries of each country to work together Have agreed as follows:
on account of shared or complementary ARTICLE 1
characteristics that include the structure of
Denitions
each lm industry, the lm culture of each
1. In this Agreement:
country and the extent of the availability in
each country of lmmaking facilities, a suitably Approved Co-Production means a Co-
skilled workforce and locations for lming; produced lm which has Approved Co-
Recognising that development of such potential Production status in accordance with
will be to the mutual advantage of each Party, Article 2;
in particular in respect of the growth and Co-producer means any individual,
competitiveness of their lm industries and partnership, body corporate or
the enhancement of their lm cultures; unincorporated association who is a Co-
Noting the benets available in each country producer of a lm;
to lms with national lm status; Competent Authority means a
Desiring to encourage the making of lms that government department or other body
reect, enhance and convey the diversity of as shall be nominated by the respective
culture and heritage in both countries; Party in each country to make decisions on
Acknowledging the benets that would ow applications for the grant of Approved Co-

Production status; consider desirable.

Film includes any record, however made, 3. The Annex shall also include rules of
of a sequence of visual images, which is a procedures on:
record capable of being used as a means of
a. the granting of approvals of an
showing that sequence as a moving picture,
application for Approved Co-Production
and for which there is an expectation for
status;
theatrical release and public exhibition.
Indian Co-producer means a Co-producer b. the withdrawal of Approved Co-
who is established and/or incorporated in Production status;
India; and c. any other matters that the Parties
UK Co-producer means a Co-producer consider desirable.
who is established and/or incorporated 4. The Annex shall include provision as to the
in England, Wales, Scotland or Northern criteria for measuring mutual benets.
Ireland.
5. The Annex shall enter into force as soon as
2. References to lmmaking contribution
the Parties have notied each other of the
beneting the UK or India include, in
completion of their respective legal and
particular, the expenditure in that country
constitutional procedures.
on goods and services which directly results
from the Co-Production and the use made 6. In determining an application made to it,
of lmmaking facilities or lming locations a Competent Authority shall apply these
in that country. requirements in accordance with guidance
published by the Competent Authority
3. Subject to Article 2(2) the Annex forms an
under this Article.
integral part of this Agreement. Any reference
to this Agreement includes the Annex. 7. Each Competent Authority may from time
to time publish guidance consisting of
ARTICLE 2 such information and advice as it considers
Approved Co-Production status appropriate with respect to:
1. The Competent Authorities may grant a. how applications are to be made to the
approved Co-Production status to a lm Competent Authority, and
which provides appropriate lmmaking
b. the operation and interpretation of this
and cultural benets to the UK and India;
Agreement.
and meets the requirements set out in this
Agreement. 8. Such guidance shall, in particular, set out:
2. The Parties shall jointly arrive at, through a a. how the Competent Authority proposes
subsequent exchange of notes, a mutually to make decisions on applications for
agreed Annex to this Agreement. The the grant of Approved Co-Production
Annex shall include requirements as to: status, and
a. the appropriate lmmaking and b. factors it will take into account when
cultural benets to the UK and India; exercising any discretion conferred on
it by this Agreement.
b. the nature of Co-producers;
9. Nothing in this Agreement binds the
c. the minimum and maximum nancial
relevant authorities in the UK or India to
contributions of Co-producers;
permit the public exhibition of a lm, which
d. lmmaking contributions of Co- has been granted Approved Co-Production
producers; status.
e. content, language, credits, locations
and personnel; and
f. any other matters that the Parties

ARTICLE 3 1. A lm shall be eligible for the grant of

Benets Approved Co-Production status even
1. This Article applies in relation to any lm if production commenced before this
which has Approved Co-Production status Agreement entered into force, but only if:
under this Agreement. a. the rst day of principal photography
1. Each Party shall permit, in accordance of the lm is no more than 18 months
with their respective legislation, including, before the date on which the Agreement
for the UK relevant European Community enters into force, and
legislation, temporary import and export, b. production of the lm is completed after
free of import or export duties and taxes, the date on which the Agreement enters
of any equipment necessary for the into force.
production of an Approved Co-Production. 2. An Approved Co-Production shall continue
2. Each Party shall permit any person to be eligible to receive any benets
employed in the making or promotion of available under this Agreement on or after
an Approved Co-Production to enter and the date on which the Agreement ceases
remain in the UK and India, as the case to have effect, but only if:
may be, during the making or promotion a. before that date, the Competent
of the lm, subject to the requirement that Authorities have given the lm requisite
they comply with the legislation relating to approval for Approved Co-Production
entry, residence and employment. status under Article 2.
3. Each Party shall treat a lm falling within b. its principal photography commenced
paragraph (1) of this Article as a national before the date on which the Agreement
lm for the purposes of any benets ceases to have effect, and
afforded in that country to national lms.
c. production of the lm is completed
4. The question of which Party may claim before the end of the period of twelve
credit for an Approved Co-Production as months commencing with the date on
a national lm at an International Film which the Agreement ceases to have
Festival shall be determined: effect.
a. by reference to whichever is the
ARTICLE 5
greater of either:
Review and Amendment
(i) the total nancial contributions
1. The Parties shall keep the Agreement
made by the UK Co-producer or
under review and, where they consider it
Co-producers (taken together), or
appropriate to do so, may recommend that
(ii) the total nancial contributions changes be made.
made by the Indian Co-producer
2. The Parties shall report to the other
or Co-producers (taken together);
annually in writing on the current state of
or
the Agreement.
b. if the respective total nancial
3. The Parties may, at any time through an
contributions are equal, by reference
exchange of mutually agreed notes, make
to whichever of the UK or India the
amendments to the Agreement.
director of the lm is most closely
associated with. 4. Any such amendment shall enter into force
as soon as the Parties have notied each
ARTICLE 4 other of the completion of their respective
Films in production before and after entry into legal and constitutional procedures.
force

ARTICLE 6 soon as the Parties have notied each other

International obligations of the completion of their respective legal and
1. The provisions of this Agreement are constitutional procedures.
without prejudice to the international 2. Either Party may terminate this Agreement
obligations of the Parties, including in at any time by giving at least 6 months prior
relation to the United Kingdom obligations written notice to the other Party.
arising from European Community law. 3. The Agreement shall cease to have effect on
the expiry of the period of notice given under
ARTICLE 7 paragraph (2) of this Article.
Entry into force
1. This Agreement shall enter into force as
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
English text shall prevail.
For the Government of the United the

For the Government of INDIA Republic Kingdom of Great
BRITAIN and NORTHERN IRELAND

ANNEX d) the budget;

Rules for applications e) the nancing plan;
f) a clause establishing the
for approval of Film Co-production Agreement
sharing of revenues, markets,
between media or a combination of
these;
the Government of the Republic of India
g) a clause detailing the
and respective shares of the
the Government of United Kingdom of Great co-producers in any over or
under expenditure, which
Britain
shares shall in principle
and Northern Ireland be proportional to their
respective contributions,
although the minority co-
1. Applications for qualication of a lm producers share in any over
for co-production benets under this expenditure may be limited
Agreement for any co-production must to a lower percentage or
be made to competent authority at least to a xed amount providing
thirty (30) days before shooting begins. that the minimum proportion
2. Documentation submitted in support of an permitted under the
application shall consist of the following Agreement is respected;
items, drafted in English: h) a clause stating that the
2.1 The nal script and synopsis; competent authorities
have to be informed if
2.2 Documentary proof of having legally the percentage of the
acquired the rights to produce and contribution of a co-producer
exploit the Co-Production and that changes subsequent to the
the copyright for the co-production approval of the competent
has been legally acquired; authorities;
2.3 Proof of compliance with the i) a clause stating that lms
prescribed procedure for permission co-produced under this
regarding entry of crew, equipment Agreement may be publicly
and for shooting location in India; exhibited in either country in
2.4 A copy of the co-production accordance with prescribed
contract signed by the two co- rules/procedures;
producers. j) a clause recognizing that
The contract shall include admission to benets under
a) the title of the co-production; this Agreement does not
b) the name of the author of the constitute a commitment
script, or that of the adaptor that governmental
if it is drawn from a literary authorities in either country
source; necessary permission will grant a license to permit
for adapting the literary work public exhibition of the co-
into a lm from the author/ production;
legal heirs may be attached; k) a clause prescribing the
c) the name of the director measures to be taken where:

(i) after full consideration the co-producers.

of the case, the 2.5 the distribution contract, where it
competent authorities has already been signed, or a draft
in either country refuse if it has yet to be concluded;
to grant the benets
2.6 a list of the creative and technical
applied for;
personnel indicating their
(ii) the competent nationalities and, in the case of
authorities prohibit the performers, the roles they are to
exhibition of the co- play;
production in either
2.7 the production schedule;
country or its export to
a third country; 2.8 the detailed budget identifying the
expenses to be incurred by each
(iii) either one or the other
country; and
Party fails to fulll its
commitments; 2.9 all contracts and other relevant
nancial documentation for
l) the period when shooting is
all participants in the nancial
to begin;
structure.
m) a clause stipulating that
the majority co-producer 3. The competent authorities can demand
shall take out an insurance further documents and all other additional
policy covering at least all information deemed necessary.
production risks and all 4. The nal shooting script (including
original material production the dialogue) should be submitted to
risks; and the competent authority prior to the
n) a clause providing for the commencement of shooting.
sharing of the ownership
5. Amendments may be made in the original
of copyright on a basis that
contract, but they must be submitted for
it is proportionate to the
approval by the competent authorities
respective contributions of
before the co-production is nished.

KEY FILM
INDUSTRY
CONTACTS
A comprehensive list of associations,

producers, distributors and independent
Cannes Film Market lmmakers 237
across India
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 SRI MISHRI

A.KOTHANDARAMAIAH(K.R) EDITOR MOHAN PRODUCTIONS
98410-8850 98402-76403 CHANDRA PRAKASH JAIN
98410-39141
SATHYA JYOTHI FILMS MURALI CINE ARTS
T.G.THYAGARAJAN H.MURALI SEVENTH CHANNEL
COMMUNICATIONS
95000-19899 94440-87517
MANICKAM NARAYANAN
98841-91434
AMMA CREATIONS LAKSHMI MOVIE MAKERS
T.SIVA K.MURALIDHARAN
SUPER GOOD FILMS
94445-34567 94440-87417
R.B.CHOWDHRY
98410-70204
STUDIO GREEN THIRRUPATHI BROS.FILM
GNANAVEL RAJA MEDIA P.LTD
SUBASH CHANDRA BOSE SURYA MOVIES
96000-77666
98840-49333 A.M.RATHNAM
99625-68605
ALAGAPPA ART
CREATIONS PYRAMID FILMS
AL.ALAGAPPAN INTERNATIONAL WIDE ANGLE CREATIONS
98410-23495 V.NATARAJAN SURESH BALAJI
98410-54545 99401-23451
GAYATHRI FILMS
CHITRA LAKSHMANAN MOTHERLAND PICTURES AASCAR FILMS P.LTD
94443-83744 KOVAI THAMBI V.RAVICHANDRAN
98400-92700 98410-22246

AGS ENTERTAINMENT SRI THENANDAL FILMS SHARANYA CINE

P.LTD RAMA NARAYANAN 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)_ RAJLAKSHMI FILMS
S.P.CHARAN P.LTD
96000-75589
99401-16660 PL.THENAPPAN
94440-00069
RAAJKAMAL FILMS
CLOUD 9 MOVIES INTERNATIONAL
DAYANIDHI ALAGIRI KAMAL HAASAN SIVASAKTHI MOVIE
MAKERS
90031-86771 044-2433-4140
SIVASAKTHI PANDIAN
984680660
COMPANY PRODUCTIONS SIVAJI PRODUCTIONS
M.SASIKUMAR RAMKUMAR
ANBALAYA FILMS
99405-66667 044-2835-0127
K.PRABAKARAN
98846-12130
G.K.FILM CORPORATION MUKTHA FILMS
G.K.REDDY MUKTHA V.SRINIVASAN
VASAN VISUAL VENTURES
98409-80590 93802-44118
K.S.SRINIVASAN
98409-89111
P.V.P.CINEMA MOVIE MAGIC
POTLURI MADHESH
AVM.FILM STUDIOS
93818-41146 98400-23111
M.BALASUBRAMANIAN
98407-20703
R.K.PRODUCTIONS KAVITHALAYA
KASTHOORI RAJA PRODUCTIONS P.LTD
044-2815-1468 K.BALACHANDER
98412-27171
S.PICTURES
SHANKAR
044-2376-0643

TELUGU
SRI AMULYA ART DASARI FILM SRI RAGHAVENDRA CINE
PRODUCTIONS UNIVERSITY CHITRA
C.KALYAN DASARI NARAYANA RAO K.SATYANARAYANA
078939-55599 098681-81002 9444419354
DEVI KAMAL MOVIES GEETHA ARTS SAI GANESH

K.C.SEKAR BABU ALLU ARAVIND PRODUCTIONS P.LTD
9849635350 098497-34567 BELLAMKONDA SURESH
098490-05528
CREATIVE COMMERCIALS SREE LAKSHMI
K.S.RAMA RAO PRODUCTIONS VARMA CORPORATION
T.RAMA RAO LTD
098490-99399
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

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 SHREE SHOUNDARYA

PARVATHAMMA RAJKUMAR SA.RA.GOVINDU ARTS
080-23346716 9448051314 JAYAMALA
080-2341-3331
MALAYALAM
GRIHALAKSHMI REVATHI KALAMANDHIR CENTURY
PRODUCTIONS G.SRUESH KUMAR M.C.PHILIP ALIAS
DR.P.V.GANGADHARAN 9447123299 KOCHUMON
098473-40404 9444017808
KOKERS FILMS
SEVEN ARTS A.A.SYED KOKER SUNITHA PRODUCTIONS
INTERNATIONAL LTD AROMA MANI
098470-30040
G.P.VIJAYAKUMAR 094471-69996
98840-25747
ADOOR
GOPALAKRISHNAN SWARGA CHITRA
EVERSHINE PRODNS. P.D.APPACHAN
PRODUCTIONS ADOOR GOPALAKRISHNAN 9846096669
S.S.T.SUBRAMANIAM 0471-2446567
098470-35281
MADHU AMBAT
GANESH PICUTRES PRODUCTIONS
MUDRA ARTS RAVIKOTTARAKARA MADHU AMBAT
B.SASHIKUMAR 97908-33335 99401-66566
098470-56465

FILM & TV GUILD

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

M/s Aamir Khan Productions
Aamir Khan rao.b.shrinivas@gmail.com
Pvt. Ltd.
Aashish Singh M/s Yash Raj Films Pvt. Ltd. aashish@yashrajlms.com,
abhaychopra@brlmsindia.
Abhay Chopra M/s B. R. Films
com
Abhay Chopra M/s. B R Films Pvt. Ltd.
com
Abhay Chopra M/s. B R TV
com
Abhinav Shukla M/s Nautanki Films Pvt. Ltd. abhinav@nautankilms.com
ajay.bijli@pvrcinemas.
Ajay Bijli M/s PVR Pictures Ltd. 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

M/s Viacom 18 Motion Pictures/
Ajit Andhare ajit.andhare@viacom18.com
M/s Viacom 18 Media Pvt. Ltd.
Akkineni Nagarjuna Rao M/s Annapurna Studios Pvt. Ltd. nakkineni@gmail.com
M/s Cineyug Media
Aly Morani moranialy@gmail.com
Entertainment Pvt. Ltd.
M/s Gill Pictures Entertainment
Aman Gill 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
anupamkher@gmail.
Anupam Kher M/s Actor Prepares Productions com,herman@
anupamkhercompany.com

Anushka Sharma/Karnesh
M/s Clean Slate Films Pvt. Ltd. karnesh@cleanslatelms.in
Sharma
M/s Inspired Entertainment Pvt.
Arun Pandey arunpandey@rhitisports.com
Ltd.
M/s Reliance Broadcast asheesh.chatterjee@
Asheesh Chatterjee
Network Ltd. reliancebroadcast.com
Ashim Samanta M/s Aradhana Films samantamovies@gmail.com
Ashim Sen M/s Masen Production Pvt. Ltd. ashims@masengroups.com

M/s IDream Motion Pictures ashish@
Ashish Bhatnagar
Pvt. Ltd. idreammotionpictures.com
marutint@vsnl.
Ashok Thakeria M/s Maruti International com,marutipictures@gmail.
com
ashutosh@agppl.com;info@
M/s Ashutosh Gowariker
Ashutosh Gowariker agppl.com, ashgow@hotmail.
Productions Pvt. Ltd.
com
Asitkumarr Modi M/s Neela Telelms Pvt. Ltd. asitmodi@neelatelelms.com
M/s Super Cassettes Industries bhushankumar@tseries.
Bhushan Kumar
Ltd. net,mukeshdesai@tseries.net
M/s BSK Network and
Boney Kapoor boneykapoor@hotmail.com
cushru.shroff@
Cushru P Shroff M/s Lin-TV Advertising Pvt. Ltd.
loweandpartners.com
suresh@sureshproductions.
D Suresh Babu M/s Suresh Productions (P) Ltd. net,archana@
sureshproductions.com
M/s Warner Bros. Pictures
Denzil Dias denzil.dias@warnerbros.com
(India) Pvt. Ltd.
Dheeraj Kumar M/s Creative Eye Ltd. dheerajcel@yahoo.co.in
Dr. Bhupendra Kumar bipl2005@gmail.com,
M/s Spice Corp Ltd.
Modi wilsonurban@gmail.com
M/s Balaji Films Ltd. / Ms Balaji
Ekta Kapoor chloeferns@yahoo.com
Motion Pictures Ltd.
farhan@exlent.com,ritesh@
Farhan Akhtar M/s Excel Entertainment Pvt. Ltd.
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

M/s Movie Temple Productions

Himanshu Mehra himanshumehra@gmail.com
Pvt. Ltd.
Hiren Gada M/s Shemaroo Entertainment Ltd. hiren@Shemaroo.com
lmkraf@vsnl.com,
J Om Prakash M/s Filmyug Pvt. Ltd.
shashankjare@yahoo.com
duttajp@gmail.com,jassi@
J.P.Dutta M/s J. P. Films
jplms.net
Jyotin Goel M/s Goel Screencraft jyotin_g@hotmail.com
Kalyaan Guha M/s Film Farm India Pvt. Ltd. pintooguha@gmail.com

barjatya@rajshri.com,
Kamal Kumar Barjatya M/s Rajshri Pictures Pvt. Ltd.
ramanathan@rajshri.com
Kamna Menezes M/s SOL Productions Pvt. Ltd. kamna@solworld.net
M/s Dharma Productions Pvt. apoorva@dharma-production.
Karan Johar
Ltd. com
Ketan Anand M/s Himalaya Films kunkianand@gmail.com
M/s V Shantaram Productions
Kiran V Shantaram kiran@rajkamalstudio.com
Pvt. Ltd.
Kumar Taurani M/s Tips Industries Ltd. kumar@tips.in
M/s Kunal Kohli Productions kunalkohli@kkp.co.in,
Kunal Kohli
Pvt. Ltd. sanjana@kkp.co.in
Madhu Mantena/Vikas madhu@Phantoms.in,vikas@
Bahl/Ashwatha Aaron M/s Phantom Films Pvt. Ltd., phantoms.in,kamlakar@
Naik bigbangcompany.com
Manish Goswami M/s Siddhant Cinevision Ltd. mg@scvl.in
manmohanshetty@
adlabsentertainment.
Manmohan Shetty M/s Walkwater Media Ltd.
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@
Mohan Umrotkar M/s Reliance Mediaworks Ltd.
relianceada.com
Mrinal Sen mrinal_sen@dataone.in
M/s Emmay Entertainment &
Ms. Madhu Bhojwani madhu.bhojwani@gmail.com
Motion Pictures LLP,

mukesh.bhatt@visheshlms.
M/s Vishesh Entertainment Pvt. com,sb@visheshlms.
Mukesh Bhatt
Ltd. com,gilbert@visheshlms.
com
mukesh.bhatt@visheshlms.
com,sb@visheshlms.
Mukesh Bhatt M/s Vishesh Films Pvt. Ltd.
com,gilbert@visheshlms.
com
nps@setindia.com,diptik@
N P Singh M/s Multi Screen Media Pvt. Ltd.
setindia.com
M/s Hungama Digital Media
Neeraj Roy neeraj@hungama.com
M/s Emmay Entertainment
Nikhil Advani nikadvani@gmail.com
Pvt. Ltd.
M/s National Film Development
Nina Lath Gupta nina@nfdcindia.com
Corp. Ltd
M/s Paanch Rupaiya Bara Aana nishiprem@prbaproductions.
Nishi Prem
(PRBA) Productions Pvt. Ltd. com,virenbhayani@gmail.com
M/s Sahara One Media & nitin.raghuvanshi@
Nitin Raghuvanshi
Entertainment Ltd. saharaqcloud.in
Nuzhat Khan M/s Nasir Husain Films Pvt. Ltd. nasirhusainlms@yahoo.com
prakashjha_productions@
Prakash Jha M/s Prakash Jha Productions rediffmail.com,klchhabra15@
gmail.com
Prateek Chakravorty M/s Pramod Films pramodlms@vsnl.net
premsagar@sagartv.
Prem Sagar M/s Sagar Entertainment Ltd.
com,pintoo@sagartv.com
Priti Shahani M/s Junglee Pictures Limited Priti.shahani@timesgroup.com
M/s Pritish Nandy
Pritish Nandy imtiaz@pritishnandycom.com
Communications Ltd.
M/s Discovery Communications
Rahul Johri rahul_johri@discovery.com
India
Raj Kumar Kohli M/s Shankar Movies
Rajan Shahi/Ranjit
M/s Director's Kut Production shahirajan@yahoo.co.in
Agrawal
rajesh.mishra@ufomoviez.
Rajesh Mishra M/s UFO Moviez India Limited
com
Rajith Menon M/s Amalgam Entertainment, 24amalgam@gmail.com
Rajiv Rai Sachdev M/s Trimurti Films Pvt. Ltd. info@trimurtilms.com

Rajkumar Hirani/Sanjiv
M/s Rajkumar Hirani Films Pvt.
Kishinchandani/Dileep rhf@rajkumarhirani.com
Ltd.
Desai
lmkraf@vsnl.
M/s Filmkraft Productions
Rakesh Roshan com,shashankjare@yahoo.
(India) Pvt. Ltd.
com
ramesh@prasadlab.
Ramesh Prasad M/s Prasad Productions Pvt. Ltd.
com,jnaidu@prasadlab.com
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

M/s Venus Worldwide venus7.music@gmail.
Ratan Jain
Entertainment Pvt. Ltd. com,jainrtn@gmail.com
Renu Ravi Chopra M/s B.R. Studios LLP renuchopra@brlms.in
Ritesh Batra/Ms. Seher M/s Poetic License Motion seherlatifm@gmail.com;
Latif Pictures Pvt. Ltd. riteshbatra@gmail.com
M/s Mumbai Mantra Media rohit.mumbaimantra@gmail.
Rohit Khattar
Limited com
Romu N Sippy M/s Rupam Pictures Pvt. Ltd. romu@mail.com
sabbas.joseph@
M/s Wizcraft International
Sabbas Joseph wizcraftworld.com;
sabbasjoseph@iifa.com
mail@nadiadwalagrandson.
M/s Nadiadwala Grandson
Sajid Nadiadwala com,sajid.nadiadwala@gmail.
com
garima@skvonline.com,gm.
Salman Khan/Amar M/s Salman Khan Ventures Pvt.
garima@gmail.com,info@
Butala/Garima Mehta Ltd.
skvonline.com
M/s Cinema Paradiso sameer@cinemaparadiso.
Sameer Rattonsey
Entertainment Pvt. Ltd. co.in
samir@cinemacapitalindia.
Samir Gupta M/s Cinema Capital com,info@cinemacapitalindia.
com
Sandeep Singh Bedi M/s Kaleidoscope Ent. Pvt. Ltd bobby@kepl.in
M/s Reliance Entertainment
sanjeev.lamba@relianceada.
Sanjeev Lamba - Division of Reliance Big
com
M/s Red Chillies Entertainments venkymysore@redchillies.
Shah Rukh Khan
Pvt. Ltd. com,blesson@redchillies.com
Shakti Sagar Chopra M/s Fable Tree Pictures Pvt. Ltd. shakti@fabletree.in

M/s Mehboob Productions

Shaukat Khan mppl786@gmail.com
Private Ltd.
Sheetal Talwar M/s. WSG Pictures Pvt. Ltd. sheetal@vistaar.bz
Shhyam Singhania shhyam@enarr.com

M/s Shiamak Davar shiamak.davar@shiamak.com,
Shiamak Davar
International (India) Ltd. nigel.dsouza@shiamak.com
Shiv Surinder Kumar/ M/s The Bombay Film Company
sanjanac@gmail.com
Sanjana Chopra Ltd.
M/s Sony Music Entertainment shridhar.subramaniam@
Shridhar Subramaniam
India Pvt. Ltd. sonymusic.com
M/s Shyam Benegal Sahyadri
Shyam Benegal benegal@vsnl.net
Films
siddharth.roykapur@disney.
M/s UTV Software
Siddharth Roy Kapur com,rachel.fernandes@
Communications Ltd.
disney.com
sid@irockindia.com,naina@
Sidhartha M Jain M/s IRock Media Pvt. Ltd.
irockindia.com
sourav.chatterjee@
contentratechnologies.
Sourav Chatterjee M/s Planman Motion Pictures
com,rahul.singh@
planmanconsulting.com
shrishti.arya@gmail.
Srishti Arya M/s Rose Audio Visuals Pvt. Ltd.
com,roopali.gs@gmail.com
sgmukta1@gmail.
Subhash Ghai M/s Mukta Arts Limited
com,parvez@muktaarts.com
Subhash Mukerji M/s Subodh Mukerji Productions sreeti315@gmail.com
M/s Shreya Entertainment Pvt. sujit@shreya.co.in,akamat@
Sujit Kumar Singh
Ltd. shreya.co.in
Suneil Anand M/s Navketan (1978) navketan1@hotmail.com
Suniel Anand M/s Navketan Films navketan1@hotmail.com

M/s Navketan International
Suniel Anand navketan1@hotmail.com
Films
M/s Alliance Media &
Sunil Doshi sunil.doshi@alliancemedia.in
Entertainment
Sunil Lulla M/s Eros International Media Ltd. sunil.lulla@erosintl.com
M/s Sphereorigins Multivision sunjoy@sphereorigins.com,
Sunjoy Waddhwa
Pvt. Ltd. info@sphereorigins.com
Sushilkumar Agrawal M/s Ultra Distributors Pvt. Ltd. ceo@ultraindia.com

Uday Shankar M/s Star India Pvt. Ltd. uday.shankar@startv.com

M/s Motion Picture Association
Uday Singh uday_singh@mpaa-india.org
(MPA) Of America
Umesh Mehra M/s Eagle Films Pvt. Ltd umeshmehra.mehra@gmail.com
Umesh Shukla M/s Benchmark Pictures Pvt. Ltd. benchmarkpictures@gmail.com

jhavaruttam@gmail.
Uttam Jhavar M/s Morya Arts Pvt. Ltd.
com,uttam@morya.com
M/s Vaibhav Vijay Anand vijayanandproductions@
Vaibhav Anand
Pictures gmail.com
varjinderchhabra@gmail.com,
M/s Anand Sagar Media And
Varjinder Chhabra anandsagarmedia@yahoo.
com
vcp@vinodchopra.
com;sameer@vinodchopra.
Vidhu Vinod Chopra M/s Vinod Chopra Productions
com, bhavin.vcf@gmail.
com,bhavin@vinodchopra.com
vijays@in.foxstarstudios.
M/s Fox Star Studios India Pvt.
Vijay Singh com,anahitab@
Ltd.
in.foxstarstudios.com
Vikram Bhatt/ Anjukumar M/s ASA Production &
vikrampbhatt@gmail.com
Bishnoi Enterprises Pvt. Ltd.
"vipul_a_shah@hotmail.
M/s Block Buster Movie
Vipul Amrutlal Shah com,aashin.shah@
Entertainers
sunshinepictures.in"
Vipul D. Shah/Sanjiv M/s Optimystix Entertainment
vipuls@optimystix.tv
Sharma India Pvt. Ltd.
M/s Vishal Bhardwaj Pictures vbpictures@gmail.
Vishal Bharadwaj
Pvt. Ltd. com,shrutiv11@gmail.com>
Vivek Singhania M/s Picture Perfect vivek.pictureperfect@gmail.com
Vailankani.Almeida@
M/s TV18 Broadcast Ltd.
network18online.com
M/s Tilak Movies Pvt. Ltd.
M/s Prakash Mehra Pictures P. Ltd. puneetmehra@gmail.com
M/s V R Pictures
subhash@sippylms.com,
M/s Sippy Films Pvt. Ltd.
subhashparsekar@hotmail.com
For Complete List of Film & T.V. guild members:

www.lmtvguildindia.org

ASSOCIATIONS &
INDUSTRY BODIES
Film Federation supransen.lmfed@hotmail.com
of India
The Film & TV
Producers Guild of kulmeet@lmtvguildindia.org
India
Indian Council of
IMPEX for lms and lmexporters@gmail.com
TV Programmers
Federation of
Indian Chambers leena.jaisani@cci.com
of Commerce and
Industry
Confederation of amitasarkar@cii.in
Indian Industry
Associated
Chambers of ajay.sharma@assocham.com
Commerce and
Industry of India

ASSOCIATIONS
AFFILIATED TO FILM
FEDERATION OF INDIA
Association President Email Address
Andhra Pradesh Film Chamber of Mr. N. V. Prasad info@aplmchamber.com
Commerce
Akhil Bharatiya Marathi Chirtrapat Mr. Vijay Vishnu chitrapatmahamandal@
Mahamandal Patkar gmail.com
Bihar & Jharkhand Motion Pictures Dr. Sunil Kumar bjmpa.bihar@gmail.com
Association
Central Circuit Cine Association Mr. J. P. Chowksey cccaindore@rediffmail.
com
Cinema Owners & Exhibitors Mr. Nitin Datar udaychitra.datar@gmail.
Association of India com
Chennai City Film Exhibitors Mr. Sv Rm 1976abirami@gmail.com
Association Ramnathan
Eastern India Motion Pictures Mr. Shrikant Mohta shrikant@venkateshlms.
Association com
Film Makers Combine - Chairman Mr. T.P. Aggarwal / indialm@gmail.com
Mr. Sangram Shirke
Film & Television Producers Guild of guildsouth123@hotmail.
South India com
Indian Council of Impex for Films & TV Mr. Hirachand Dand madhuentertainment@
Programmers gmail.com
Indian Documentary Producers Mr. Mike Pandey tigersdomain@gmail.com
Association
Indian Motion Picture Producers Mr. T. P. Aggarwal tripat_aggarwal@yahoo.
Association 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

Kinematograph Renters Society Pvt. krsindia@vsnl.net

Ltd,
Motion Pictures Association Mr. Sakshi Mehra sakshimehra@rediffmail.
com
Motion Pictures Association of America Mr. Uday Singh uday_singh@mpaa-india.
Inc. org
South Indian Film Chamber of Mr. Shashi geets@yahoo.com
Commerce Balakrishnan
South Indian Film Exporters
Association
Tamil Film Produces Council Mr. Thanu tfpcouncil@yahoo.co.in
Tamilnadu Film Chamber of Commerce Mr. Abirami 1976abirami@gmail.com

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

INDEPENDENT FILM
MAKERS-PRODUCERS
ALAN MCALEX DEEPAK ASWANI JAMAL DOUBA
Jar pictures Handmade lms pvt ltd Media link international
alan@jarpictures.com deepak@ j.douba@mli-lb.com
theadaptationcompany.com
AMIT CHHEDA JASMINE JAISINGHANI
Shethia audio video pvt. Ltd. FARHATULLAH BEIG Ifa
amitchheda@shethia.com Honeybee media works jasmine.jaisinghani@gmail.
beig4lms@gmail.com com
ANAND RAMAYYA
Karma lm inc. GANDHARV SACHDEV JULIA ROSENBERG
anand@karmalm.ca Celluloid entertainment pvt January lms
ltd julia@januarylms.ca
ANUP SINGH artecraftlms@gmail.com
Saskia vischer productions JUNAID MEMON
GAURI CHADHA Nomad lms
anupsyng@gmail.com
Chasing frames productions junaid@nomadlmsindia.
ARFI LAMBA gaurichadha@gmail.com com
Bombay berlin lm
production llp GIRISH MALIK KATHARINA SUCKALE
ar@bombayberlin.com One world lms pvt. Ltd. Bombay berlin lm
girish@oneworldlms.in production
BIDHU BHUSHAN PANDA ks@bombayberlin.com
Eleeanora images pvt. Ltd. GUNEET MONGA
Sikhya entertainment KAUSHIK MUKHERJEE
biju707@yahoo.com
guneet@sikhya.in Overdose art pvt ltd
DAVID LOCKWOOD q@overdosejoint.in
Umbrella entertainment HARISH AMIN
Speaking tree pictures pvt KAVEETA OBEROI KAUL
david@umbrellaent.com.au
ltd Kriya movies
DEEP SEHGAL aminharish@gmail.com kavitaok@gmail.com
Avatar productions
IMTIAZ BAROLIA MANJEET SINGH
deep@avatarlms.org
Zero gravity pictures Cinemanjeet creations
moviemagick@yahoo.co.in cinemanjeet@gmail.com

MANMEET SINGH RAJESH KUMAR JAIN SHAZIA KHAN

Vr lms & studios pvt ltd Krish movies Saffron lms
themanmeet007@gmail. rajeshjain@krishmovies.net saffronlmsindia@gmail.
com com
RAKESH MEHTA
MANU REWAL Celluloid entertainment pvt SHRIHARI SATHE
Duniya vision / karma ltd Innitum productions
productions rakesshhmehta@gmail.com ssathe@innitum-
manu@duniyavision.com productions.com
RICKY SINHA
NIKHIL MAHAJAN Khyati productions SUHRUD GODBOLE
Blue drop lms pvt. Ltd. Ime motion pictures
nikmahajan@gmail.com ricky.s209@gmail.com suhrud@imepl.com
NIKHIL SANE ROMAN JEDRKOWIAK SUNIL DOSHI

Essel vision Adhd warsaw Alliance media &
productions ltd. roman.jedrkowiak@ entertainment pvt. Ltd
nikhil.sane@zee.esselgroup. adhdwarsaw.pl sunil.doshi@alliancemedia.in
com
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 Dq entertainment
RAJ AMIT KUMAR international limited
sandipkulkarrni@gmail.com
Dark frames tapaas@dqentertainment.
akr@darkframes.com SANJAY SURI com
Anticlock lms
RAJAN KHOSA VASANTHAKUMAR
sanjay@
Elephant eye productions THIRUMAVALAVAN
kahwaentertainment.com
pvt. Ltd. Ajj lm services
ee@rajankhosa.com SHAHIN BAZIL ajjthiru@vsnl.net
Century 21 visual media
RAJESH JALA company VEENA BAKSHI
The elements bazil@century21vmc.ir Shree narayan studios pvt
rajeshjala@gmail.com ltd
veena.bakshi@gmail.com

VIKRAM SHERMA VIVEK RANGACHARI MARAR

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

Government of India
INDIA
www.makeinindia.com
FILM GUIDE
Government of India

GOVERNMENT OF INDIA
ROOM NO.107, FILMS WING, SHASTRI BHAVAN
DR. RAJENDRA PRASAD ROAD
NEW DELHI - 110 001 INDIA
in partnership with
INDIA FILM GUIDE 2015
Directorate of Film Festivals Federation of Indian Chambers of

Cannes Film Market
Government of India
Commerce and Industry
FICCI Federation House, Tansen Marg
India Pavilion in partnership with
Sirifort Auditorium Complex, New Delhi, India 110001 111 International Village Riviera
August Kranti Marg, New Delhi- 110049 Tel: +91-11-23738760
Tel: 91 11 26499371 www.cci.com
May 14-24, 2015
www.dff.nic.in; www.if .nic.in www.indiaatcannes.com

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MINISTRY OF INFORMATION AND BROADCASTING

Ministry of Information & Broadcasting

MINISTRY OF INFORMATION AND BROADCASTING

INDIA FILM GUIDE 2015

Directorate of Film Festivals Federation of Indian Chambers of

India at Cannes_Cover_with Spine_new.indd 1 30-04-2015 22:26:20

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KEY INDUSTRY CONTACT LIST 237

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Cannes Film Market 5

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Cannes Film Market 7

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Cannes Film Market 9

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Film Policies of the Ministry of

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Ministry of Information and

T the mass communication media consisting of

India Film Guide 2015 12

India_Film_Guide_2015_Pages_1-68.indd 12 05-05-2015 17:13:58

Dissemination of information about India within and outside the country

The execution of the lm mandate of the Ministry of

The Ministry of Information & Broadcasting is

Cannes Film Market 13

India_Film_Guide_2015_Pages_1-68.indd 13 05-05-2015 17:14:00

Single Window for Film

A lm shooting is all set to become

SEND YOUR APPLICATIONS FOR SHOOTING

India Film Guide 2015 14

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The Ministry of Information & Broadcasting is in

Cannes Film Market 15

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Audio Visual Co-Production

India Film Guide 2015 16

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Co-production agreements help

Cannes Film Market 17

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New Cinematograph Act

India Film Guide 2015 18

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Taking piracy out

inistry of Information & A dedicated web portal.

M Broadcastings proposals for carrying

Cannes Film Market 19

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T is a prestigious project of the Ministry

India Film Guide 2015 20

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T Broadcasting has launched the National

NFHMs aim is to restore and archive lms for

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National Centre for

T Animation, Gaming and Visual Effects

Cannes Film Market 23

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Top lmmaking centres of India

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26 India Film Guide 2015

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