The selection of Swatantrya Veer Savarkar — a biopic on the controversial Hindutva ideologue Vinayak Damodar Savarkar— as the opening film of the Indian Panorama section at the International Film Festival of India (IFFI), set to begin on November 20, comes as no surprise. In recent years, this has become a pattern, with films that can be outright termed propaganda making their way into what is traditionally a showcase of artistically brilliant Indian cinema.
Protests against propaganda fall on deaf ears
In previous years, films like The Kashmir Files and The Kerala Story have been included in the IFFI line up, drawing sharp criticism from movie buffs. However, the government and the selection committee have consistently ignored these voices of protest.
Two Kerala delegates were detained and barred from IFFI last year after protesting against the screening of The Kerala Story by distributing pamphlets and demonstrating on the red carpet.
In 2022, Israeli filmmaker Nadav Lapid, who was the Jury Chairman, criticised the festival for allegedly succumbing to political pressure. He pointed specifically to the inclusion of The Kashmir Files in the competition line up, claiming it was “pushed” into the selection due to external influences. Lapid also noted that many Indian filmmakers felt unable to voice their dissent, reflecting broader concerns about the festival’s integrity. His remarks brought attention to fears that political agendas, particularly those aligned with right-wing ideologies, could overshadow independent artistic expression at IFFI. However, the Israel government later chose to apologise for comments made by Lapid.
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Saffronisation of IFFI?
The selection of Swatantrya Veer Savarkar, however, has piqued filmgoers, film critics and filmmakers. They have criticised both the selection committee, as well as the National Film Development Corporation, which is organising the film carnival, as “another attempt to saffronise the prestigious IFFI, which hitherto looked upon with respect all these years.”
Directed, co-written and co-produced by Randeep Hooda, who also plays the titular role of Vinayak Damodar Savarkar, Swatantrya Veer Savarkar has been criticised for distorting history and for promoting one-sided agenda of right-wing politics in the country. The film was released to coincide with the Lok Sabha elections in the country, said to tilt the electoral balance in favour of ruling BJP.
“When Gajendra Chauhan was appointed as the chairman of the FTII, Pune, a strong protest was held in Panaji during the IFFI. However, the intensity of the protest gradually decreased or completely disappeared afterward. It is likely that the fear of legal cases, jail, and court proceedings prevented anyone from continuing with the protest,” observed G P Ramachandran, noted film critic in Malayalam.
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Festival loses sheen, aficionados lose interest
Many film buffs and delegates no longer feel a connection to the festival, with many choosing not to participate this time.
“I had registered to attend the festival, and I had booked the ticket and hotel. However, everything is being cancelled. The films I need to see can be watched from other locations,” award-winning film critic VK Joseph wrote on Facebook, sharing a news flier about Swatantrya Veer Savarkar being chosen as the inaugural film of the Indian Panorama.
“In India, since 2014, the ruling BJP has gradually brought various aspects of society under its influence, leading to widespread saffronisation. Privatisation has become a subtle yet significant means of deepening this influence. The choice of Savarkar as the opening film at IFFI is a testament to this agenda. This trend is not limited to Bollywood; the Sangh Parivar is also investing in South Indian mass-market films to propagate Hindutva ideologies. The privatisation of IFFI appears to be another step in this larger strategy”, opines Kavin Malar, Tamil poet and journalist.
Misleading narratives, distorted facts
Many in the Kannada film industry too are critical of the selection of films such as Mahavatar NarasimhaArticle 370 and 12th Pass. Article 370a 2024 Hindi language political action thriller directed by Aditya Suhas Jambale, is being criticised for alleged distortion of facts, depicting narratives favouring the ruling BJP due to the then-upcoming elections and for ignoring the views of Kashmiris.
Of the two Kannada films, Venkyawhich got selected for screening in Panorama section, is directed by Sagar Puranik, son of Sunil Puranik, former chairman of Karnataka Chalanachitra Academy and a strong Sangh Parivar filmmaker. Sunil has also been accused of ‘saffronising’ Bengaluru International Film Festival (Biffes) during his tenure as chairman of the film body.
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MS Prakash Babu, director of Attihannu mattu Kanaja (Fig Fruit and The Wasps), which screened at various international film festivals, criticised the enthusiasm of the NFDC, prime force behind IFFI, in pleasing the Sangh Parivar and BJP.
“In the last 10 years, the credibility of IFFI has been sinking. Considering the films selected for the Panorama sections, it looks like, this year, it hit the Nadir.” He criticised the organisers for stooping to the level of holding “IFFI Reel Contest” with the title “Lights, Camera, Reel1”. “It is nothing but an attempt to reduce film, which is an intellectual exercise and experiment to the level of mediocrity,” he told The Federal.
‘IFFI trying to please majoritarian government’
“All the institutions established by the Union government according to the recommendations of the SK Patel Committee (1949-51), have now either been merged or eliminated. The Directorate of Film Festivals, National Film Archive, and Films Division have all been merged into the NFDC, which is an industrial body. Given the privatisation of MTNL and Air India, those in charge of the NFDC won’t hesitate to privatise it as well,” added Ramachandran.
“In fact, this trend began during the Congress era and is a result of the retreat from Nehruvian policies. It has now become convenient for the BJP,” says G P Ramachandran.
National Award recipient filmmaker Manjunatha Somakeshava Reddy, popularly known as Mansore, maker of 19-20-21 (a Kannada film about civil liberties, the Indian Constitution and the rights of the citizens), We will live and Harivuis also of the opinion that IFFI is slowly losing its credibility in recent years.
“IFFI which tried to turn the 54th edition into a propagandist event failed miserably and faced the wrath of the film community. Selection of Swatantrya Veer Savarkar, 12th Fail and Article 370 clearly exposed IFFI’s hidden agenda to please the majoritarian government in the country,” he said.
Interestingly, instead of holding the BJP government at the Centre responsible for the fall in quality of IFFI, Mansore blames bureaucrats who are responsible for the development. “They wanted to please political dispensation in power,” he said.
Loss of sensitivity, dominance of Bollywood
“It is difficult to say stories truthfully when such propagandas rule. I don’t think we can make a movie like Nirmalyam (the Malayalam film directed by MT Vasudevan Nair in 1973 which ends with the iconic scene of the protagonist, a temple oracle, spitting at the face of the idol) anymore. It is unfortunate that the present generation cannot even have the courage and truthfulness the yesteryear filmmakers had. Now even when we name a character, unknowingly this filter of religion comes into mind. I see it as a dangerous situation which is sure to get worse in the coming years. As much as it affects the quality and craft of movies, it is creating a bigger divide between the people by normalising such divides,” says Indu Lakshmi, a critically acclaimed Malayalam director.
Also read: Swatantrya Veer Savarkar: Randeep Hooda lifts Hindutva icon’s flattering portrait
Internationally renowned filmmaker Girish Kasaravalli noted that not only IFFI, but also other international film festivals in the country have lost their decorum in recent years because of the grandeur and undue prominence given to Bollywood stars. Girish said in no uncertain terms that, “I don’t want IFFI to reach that stage.”
The 55th IFFI’s issues go beyond the inclusion of right-wing propaganda films, highlighting Bollywood’s dominance and the neglect of politically sensitive voices. For instance, the Women in Cinema Collective (WCC), instrumental in forming the Hema Committee in Kerala to address gender discrimination, was excluded from the session on women’s safety and cinema. This session, featuring Imtiaz Ali, Suhasini Maniratnam, and Khushboo, also made no reference to the Hema Committee’s report, which has already sparked significant industry discussions.
“We were not aware of such a session, nor were any of our members contacted. We only learned about it through the media,” said Deedi Damodaran, scriptwriter and founder of the Women in Cinema Collective (WCC).
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