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TEAFF 22: The awards went to… TEAFF 22: The awards went to…

TEAFF 22: The awards went to…

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TEAFF 22: The awards went to…

The Special Film Writing Award instituted in memory of Late Sudhir Nandgaonkar was presented this year to journalist-turned renowned film scholar and curator, Meenakshi Shedde. Expressing her gratitude, Meenakshi Shedde said, “I am truly thankful for receiving this award in the memory of late Sudhir Nandgaonkar. He played a significant role in my writing journey, and it gives me immense joy to receive an award bearing his name.”

The competition section of this year’s festival featured films by young, emerging directors with fresh narrative styles. The results of the competition were announced during the ceremony. In the Indian Cinema category, Ballad to the Winds was adjudged Best Film. The Best Director award went to Monjul Baruah for Romantic Affairs. Manoj Sharma (Body) won Best Actor, while Kasvi Sonkorison (Romantic Affairs) won Best Actress.

Special Jury Awards were presented to director Rudrajit Roy (Pinjar – The Cage), actor Boloram Das (Romantic Affairs), debut director Dr. Omkar Bhatkar (The Weight of Longing), and actress Gaumaya Gurung (Shape of Momo).

On the occasion of the 125th birth anniversary of Dadasaheb Phalke, a new award for Best Directorial Debut was instituted this year, which was won by Tribeni Rai for Shape of Momo.

In the Contemporary Marathi Cinema category, Sabar Bonda won the Best Film award, while Rohan Kanawade received Best Director for the same film. Santosh Davakhar, director of Gondhal, also shared the Best Director honor. Bhushan Manoj and Suraj Suman won Best Actor for Sabar Bonda. The Best Actress award was jointly awarded to Renuka Shahane (Uttar) and Bhakti Ghogre (Giran). Special Jury Awards went to director Ravba Gajmal (Sangla), Manoj Naik-Satam for story (Gaman), and child artist Devdatt Ghone (Sohala).

I will offer no comments on the awards that went to the makers or cast of Ballad to the Winds, Body, Sabar Bond, Giran, Gaman and Sohala, simply because I missed these films. What a tremendous loss! Monjul Baruah has a very done a good job helming Romantic Affairs, but a couple of other films had even better direction, in my humble opinion. Kasvi Sonkorison would have failed to make it to my list of awardees, though I might concur on the choice of Boloram Das. Pinjar deserved some award, so the Special Jury Award is in order. The other Special Jury Award to Omkar Bhatkar fillip to experimentation and path-breaking, though the film is strictly for niche audiences. Not having seen all the entries under the Best Debut Director, I guess the Jury found Tribeni Ray’s wielding of the megaphone the best, thogh I would hesitate to call it great direction.

Gondhal could not go awardless, and Santosh Davakhar rightfully won the Best Director Award, shared with Rohan Kanawade. Two actors from Sabar Bond wowed the Jury with their performances. Likewise, two actresses left their mark on the minds of the Jury, but was Bhakti Ghogre as good as Renuka Shahane? Yes, felt the Jury. What a pity that I missed the films that bagged as many as three Special Jury Awards: Sangla, Gaman and Sohala.

Here is my merit list, in descending order of star ratings, of the f

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TEAFF 22: Closing formalities TEAFF 22: Closing formalities

TEAFF 22: Closing formalities

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TEAFF 22: Closing formalities

The closing ceremony of the 22nd Third Eye Asian Film Festival, which unfolded over the week 09-15 January 2026, was held with great at the precincts of the P.L. Deshpande Kala Academy’s Ravindra Natya Mandir. This year’s festival, as always, offered audiences a rich and diverse cinematic experience, showcasing Asian film culture, through a wide range of films. Film lovers had the opportunity to watch around 56 films during the festival, held at two venues, the mini-theatre of the Academy and Cinépolis cinema in LakeShore Mall, Thane.

Prashant Sajnikar, Co-Managing Director of the Maharashtra Film, Theatre and Cultural Development Corporation, graced the occasion, as the Chief Guest. Speaking at the event, he emphasised that such festivals provide audiences access to some of the finest films from across the world. He highlighted the need for sustained efforts at various levels for the growth of cinema. Stressing the importance of reaching cinema beyond cities into rural areas, he mentioned that the government is actively working through various initiatives. As part of these efforts, the Dadasaheb Phalke Chitrapat Rasik Mandal has launched a special initiative dedicated to classic films. Additionally, three different courses have been introduced to provide a platform for emerging artistes. Praising the organisers, The Asian Film Foundation and Prabhat Chitra Mandal, Sajnikar noted that consistently organising the festival, for 22 years, is truly commendable, and reiterated the Maharashtra government’s commitment to the development of cinema.

While welcoming the guests, Festival President Kiran Shantaram expressed gratitude to all those who supported the festival and shared his happiness over the overwhelming response. Festival Director Santosh Pathare also thanked everyone for their co-operation and contributions, acknowledging that the festival’s success was the result of collective efforts. Executive Committee Member Shrikant Bojewar, Sandeep Manjrekar (Managing Director), along with film-makers Sandeep Sawant, Prabal Khaud, Vikas Patil, Supratim Bhol and other jury members, were present at the ceremony.

Many awards were presented at the closing ceremony.

*The Special Film Writing Award instituted in memory of Late Sudhir Nandgaonkar, the Director of the festival for 20 years, until his passing away.

*The competition section of this year’s festival featured films by young, emerging directors with fresh narrative styles. The results of the Indian Cinema competition were announced during the ceremony. Best Film, Best Director, Best Actor and Best Actress awards were given under this category.

Four Special Jury Awards were presented to a director, an actor, a debut director, and an actress.

On the occasion of the 125th birth anniversary of Dadasaheb Phalke, a new award for Best Directorial Debut was instituted this year, instituted at my behest, was also given away.

More wards were given, in the Contemporary Marathi Cinema category, for the Best Film award, Best Director (shared) for the same film, Best Actor (shared) and the Best Actress. Some more Special Jury Awards went to a Director, a story writer and a child artiste.

Festival Director Santosh Pathare presented an overview of the festival, while Sandeep Manjrekar delivered the vote of thanks. The 22nd Third Eye Asian Film Festival was organised with the support of the Department of Culture, Government of Maharashtra; Maharashtra Film, Theatre and Cultural Development Corp

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Programme preview | 48th edition Programme preview | 48th edition

Programme preview | 48th edition

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Every year, Cinéma du réel welcomes filmmakers from all over the world who are making contemporary documentary films. The programme reflects formal developments and experiments in the documentary field in the context of the history of cinema. These rare and previously unseen films, which challenge us to consider the state of the world today, can …
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MTFB Oscar Update: Cinematography, Editing, Score and Song / SAG Nominees / ADG Nominees MTFB Oscar Update: Cinematography, Editing, Score and Song / SAG Nominees / ADG Nominees

MTFB Oscar Update: Cinematography, Editing, Score and Song / SAG Nominees / ADG Nominees

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MTFB OSCAR TAKE: UPDATES FOR CINEMATOGRAPHY, EDITING, SCORE AND SONG.

Here are MTFB's third predictions for nominations for cinematography, editing, score and song.  All TFF #52 films are Bold.

BEST CINEMATOGRAPHY




1) Sinners (1)
2) One Battle after Another (2)
3) Hamnet (3)
4) Train Dreams (5)
5) Frankenstein (4)

Others: F1, Marty Supreme and Bugonia.


BEST EDITING

1) One Battle After Another (1)
2) Sinners (2)
3) F1 (4)
4) Marty Supreme (5)
5) Hamnet (3)

Others: Frankenstein, It Was Just an Accident and Sentimental Value.


BEST ORIGINAL SCORE




1) Sinners (1)
2) One Battle After Another (2)
3) Hamnet (3)
4) Frankenstein (4)
5) Train Dreams (NR)

Others: F1, Marty Supreme and Sirat.


ORIGINAL SONG

1) Golden/K Pop Demon Hunters (1)
2) I Lied to You/Sinners (2)
3) Dear Me/Diane Warren: Relentless (3)
4) Last Time (I Seen the Sun)/Sinners (NR)
5) Train Dreams/Train Dreams (5)

Others: The Girl in the Bubble/Wicked: For Good, Dream as One/Avatar: fire and Ash.. 


SCREEN ACTORS GUILD NOMINEES ANNOUNCED




SAG announced their nominees for "The Actor" awards.  Here's the breakdown of films from TFF #
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Interview With Producer Jib Polhemus on COYOTES (2025) at 20th Annual BIFF Interview With Producer Jib Polhemus on COYOTES (2025) at 20th Annual BIFF

Interview With Producer Jib Polhemus on COYOTES (2025) at 20th Annual BIFF

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Interview With Producer Jib Polhemus on COYOTES (2025) at 20th Annual BIFF

 

 

Jib Polhemus started his career in the contemporary art business working in New York and Los Angeles. He then transitioned into the entertainment business starting his career at CAA. In 2015, Jib founded the literary management company, source management + production where he represents cutting-edge directors and screenwriters.

In addition, Jib is President of Simon West Productions where he produces Film and TV with British director, Simon West (Con Air, Lara Croft: Tomb Raider, The Expendables 2). As President of Simon West Productions, Jib has developed and sold numerous high profile projects to Warner Brothers, Universal, Fox, Paramount, Sony. His work has been featured at top-tier film festivals such as Berlin, Tribeca, Zurich, Newport, Karlovy Vary, Deuville, Fantastic Fest and Reims Polar, among others.

Most recently he wrapped production on The Night Driver starring Josh Lucas, David Arquette and Alyssa Milano. His film Coyotes directed by Colin Minihan (Grave Encounters) premiered at the Fantastic Fest and will be released theatrically in October 2025.

He is in post on multiple projects: Zealot, directed by Vadim Perelman (House of Sand and Fog), starring Kodi Smit-McPhee (The Power of the Dog) and Djimon Hounsou (Blood Diamond and In America); World Breaker, directed by Brad Anderson (The Machinist), starring Mill Jovovich and Luke Evans; and Coyotes (2025), starring Justin Long and Mila Harris, directed by Colin Minihan and written by Tad Tad Daggerhart. 

In his free time, Jib Polhemus is on the advisory board of The Bahamas International Film Festival and judges UCLA's Masters Screenplay Writing Competition. He resides in Los Angeles, CA.
 

 

Interview by Vanessa McMahon

 

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Dhurandhar (2025) is a defiant spy thriller that exposes the fault lines of global hypocrisy by Lalit Rao (FIPRESCI)

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Dhurandhar (2025) is a defiant spy thriller that entertains, educates and exposes the fault lines of global hypocrisy © by film critic Lalit Rao (FIPRESCI) [lalitmax2022@gmail.com]
 
Introduction : When a commercial film turns into a political flashpoint
 
Cinema occasionally reaches a moment where it ceases to function merely as entertainment and instead becomes a political, cultural and ideological event. Dhurandhar (2025) is one such film. Long before audiences could dissect its narrative structure or debate its performances, the film found itself thrust into controversy due to its banning in six Gulf countries — Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the United Arab Emirates. This ban ensured that ‘‘Dhurandhar’’ entered the public imagination not simply as a spy thriller, but as a cinematic statement that refused to conform to diplomatic politeness or ideological ambiguity. In doing so, the film revived an old but essential question: should cinema be obligated to soften reality in order to remain globally palatable?  Historically, some of the most impactful films have been those that unsettled power structures rather than appeased them. Dhurandhar firmly belongs to that lineage.
 
 The gulf ban: A case study in selective freedom of expression
 
The justification offered for banning Dhurandhar — that it is “anti-Pakistan” — is both simplistic and revealing. It highlights how freedom of expression is often interpreted not as a universal right, but as a negotiable privilege shaped by geopolitical convenience.Western cinema has for decades portrayed Middle Eastern warzones, intelligence agencies, insurgent networks and regime changes without restraint. Such films are celebrated as gritty realism or political drama. When Indian cinema adopts a similar approach, rooted in its own national security concerns, the response is censorship. More troubling is the silence of Indian liberals who otherwise speak passionately about artistic freedom. When films are censored domestically, outrage follows. When an Indian filmmaker’s work is banned abroad, the same voices suddenly discover nuance, diplomacy and restraint. Hence, this ban is not merely about Pakistan. It is about control over narrative.
 
Diaspora impact: cultural exclusion through censorship
 
For the Indian diaspora living in Gulf countries, Hindi cinema is not just entertainment — it is a cultural lifeline. Films serve as emotional bridges to language, memory and identity. By banning Dhurandhar, Gulf authorities have effectively denied millions of Indians access to a mainstream cultural product from their homeland.
This exclusion is especially ironic given that Indian expatriates form a significant economic backbone of Gulf nations. They build cities, run services and sustain industries, yet are denied the right to consume a film that reflects their own national perspective. Hence, censorship here is not neutral; it is discriminatory.
 
Anti-Pakistan or Anti-Terrorism? : The false binary
 
Labeling Dhurandhar as “anti-Pakistan” deliberately collapses a crucial distinction: criticism of a state’s military-intelligence establishment is not hostility towards its people. The film’s narrative is rooted in a documented reality — Pakistan’s army and ISI have consistently used terrorism as an instrument of foreign policy against India. This is not conjecture or ideology; it is historical fact acknowledged globally. From the 2001 Indian Parliament attack to the 26/11 Mumbai terror attacks, the human cost of this policy is undeniable. To portray this reality o
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Indigenous Films to Watch at the Virtual Red Nation Film Festival Indigenous Films to Watch at the Virtual Red Nation Film Festival

Indigenous Films to Watch at the Virtual Red Nation Film Festival

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Now in its 25th year, the Red Nation Film Festival looks to shine a light on the voices, stories, contributions and assets of contemporary Native peoples in replacing dangerous stereotypes that Native peoples face in media and academia.

The post Indigenous Films to Watch at the Virtual Red Nation Film Festival appeared first on Red Nation Celebration Institute.

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“From Shiraz to Seoul : An Iranian teenager’s journey through K-Pop in Ebrahim Amini’s K-Poper” © by film critic Lalit Rao. “From Shiraz to Seoul : An Iranian teenager’s journey through K-Pop in Ebrahim Amini’s K-Poper” © by film critic Lalit Rao.

“From Shiraz to Seoul : An Iranian teenager’s journey through K-Pop in Ebrahim Amini’s K-Poper” © by film critic Lalit Rao.

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“From Shiraz to Seoul : An Iranian teenager’s journey through K-Pop in Ebrahim Amini’s K-Poper” © by film critic Lalit Rao (FIPRESCI) [lalitmax2022@gmail.com]
 
 
In an era where cultural borders are increasingly porous and global pop culture travels effortlessly from one corner of the world to another, K-Poper, the début directorial venture of Iranian filmmaker Ebrahim Amini, arrives as a poignant and timely story. Set against the backdrop of contemporary Iran, the film explores intergenerational desires, conflicts, and aspirations through the dreams of a teenage girl named Maedeh from Shiraz. Amini, who began his career writing screenplays for acclaimed Iranian films such as Trace of Blood, The Story of High Noon, Lottery, and Walnut Tree, brings to his first feature a surprising blend of sensitivity and universality. K-Poper may be rooted in Iran, yet its emotional resonance stretches across borders, mirroring the ways in which young audiences everywhere engage with music, celebrity culture, and their own evolving identities.
 
 
At its heart, K-Poper is the story of Maedeh, a young girl deeply enamored with a famous South Korean K-Pop singer. Her fascination is not merely a phase but a doorway into imagining a life very different from the one she currently inhabits. Her dream is twofold: she wants to travel to Seoul to watch her idol perform live, and she also hopes to participate in a singing competition that would allow her to express her own burgeoning musical talent. These aspirations, while personal and deeply heartfelt, also become symbolic of her desire to carve out space for self-expression in a society where freedom—creative or otherwise—is often tightly regulated.
 
 
Amini depicts Maedeh with tenderness, refusing to reduce her character to a stereotype of naïve infatuation. Instead, she is portrayed as a girl standing at the threshold of adulthood, navigating conflicting emotions, societal restrictions, and familial expectations. Her enthusiasm for K-Pop mirrors a growing trend across Asia—one that the film smartly acknowledges. From India to Thailand, from Singapore to Vietnam, from Japan to Iran itself, the K-Pop phenomenon has taken firm root. The film uses Maedeh’s obsession not as a passing craze but as a legitimate cultural bridge that links distant worlds.
 
Interestingly, Maedeh’s strongest supporter turns out to be her grandfather, a man whose own youthful passions were shaped by American icons like James Dean and Elvis Presley. His fondness for these Western cultural figures reflects a universal truth that the film poignantly captures: every generation finds itself enchanted by a distant star, a voice or image that embodies rebellion, style, or freedom. In supporting Maedeh, the grandfather is not merely indulging her youthful fantasy. He is, in a way, honoring his own past—when he once felt the same pull toward global pop culture that she feels today.
 
Through this relationship, Amini creates a beautiful intergenerational parallel. Just as the grandfather’s Iran of the past was filled with young men who idolized James Dean and Elvis Presley, Maedeh’s Iran too has its own youth drawn to the glitz, beats, and creative energy of K-Pop. The film includes scenes of Iranian young men riding motorcycles, dressed in a manner reminiscent of mid-20th century American rebels. This juxtaposition u
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IFFI Goa 2025, 10: Film selection--The Good (rare), the Bad (many) and the Ugly (too many) IFFI Goa 2025, 10: Film selection--The Good (rare), the Bad (many) and the Ugly (too many)

IFFI Goa 2025, 10: Film selection--The Good (rare), the Bad (many) and the Ugly (too many)

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IFFI Goa 2025, 10: Film selection--The Good (rare), the Bad (many) and the Ugly (too many)

Films that are screened at IFFI are selected by a large committee that takes several weeks to vet the available movies, entered in the festival. Each category of films has a different committee assigned to it. The Preview Committee (sometimes referred to as the Selection Jury) for the International Section at IFFI 2025, which selects the international (non-Indian) films that are screened at IFFI, comprised:

  1. Niraj Kumar Mishra (writer, director)
  2. Gautam Narayanan (writer, director)
  3. Thripthi Sundar Abhikar (writer, director)
  4. Chethan Kumar Shetty (director)
  5. Hariom Kaushik (film-maker, writer)
  6. Haril Shukla (film-maker)
  7. M. Gita Gurappa (cinema journalist and critic)
  8. Mahesh Digrajkar (cinematographer and educationist)
  9. Satish Varma (news-reader and news editor)
  10. Runa Bhutda (news-reader and news editor)
  11. Prashantanu Mohapatra (film-maker and cinematographer)
  12. Mr. Gyan Sahay (DOP, director and producer)
  13. M. Maniram (director, story and screenplay writer)

It is not mentioned whether this Committee had a Chairperson or not.

This information is obtained from the Official Catalogue, which, unlike in many previous editions, encompasses all Sections of films and all necessary information, plus the messages of VIPs.

There is no detail about the respective standings of the Committee members in the fields of their specialty. Perhaps the powers that be felt that in the age of Google and AI, there is no need to provide such details in the catalogue.

I confess that, besides Gyan Sahay, who I know to be a reputed DOP, and with whom I have worked as an actor, I have never heard of any of the other 12 members.

Over to Google and AI, for one/two line intros.

*Niraj: Wrote Baaghi 2, produced, wrote and directed Samanantar (National Film Award for Best Feature Film-Maithili)

*Gautam: Unable to identify the right person. Several results on Google, but difficult to match them to his face and profession.

*Thripthi: From the Kannada film industry. Known for Nalke (2019). Source: imdb

*Chethan: Likely refers to the Kannada film director, Chethan Kumar, known for Bahaddur (2014), Bharjari (2017), and Bharaate (2019). (AI).

*Hariom: Probably member of CBFC (2023-24) and Preview Jury Member, IFFI 2022 (Instagram).

*Haril Shukla: Preview Committee member, International Cinema), 54th International Film Festival of India, Maker of short film U Turn.

*M. Gita: 71st National Film Awards, 2023, Feature films Jury, Central panel, Ms. Geeta M. Gurappa (Member). I presume that the this is the same person, notwithstanding the spelling.

*Mahesh: Known for Dr. Hedgewar (2025) and Everybody Says I'm Fine! (2001). (imdb)

*Satish Varma: No suitable match was found.

*Runa Bhutda: Multimedia Journalist at Webdunia Hindi, 18 years’ experience in Electronic & Print news media, Anchoring, Voice over, Scripting, Production & Reporting (LinkedIn).

*Prashantanu: Winner of Best DOP at the National Film Awards 2023, for The Kerala Story. “He believes in Responsible cinema.” (imdb).

*Gyan Sahay: A FTII graduate in Cinematography, turned Director and Producer. Known for many works on Television. (X).

*M. Maniram: Moirangthem Maniram Singha, popularly known as M. Maniram, made Mon Jai as a tribute to late cultural icon, Zubeen Garg, and is making Mon Jai Chapter 2.

A 13-member Jury. 1 film critic. No actors.

I shall not comment about

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