A still from All We Imagine as Light . At the 77th Cannes Film Festival, a crop of new films ended India's long-standing also-ran status at the annual event. Not only did 8 titles from the subcontinent play across the festival's official and parallel sections, India also returned with a historic haul of awards.
Payal Kapadia's All We Imagine as Light , won the Grand Prix. Anasuya Sengupta clinched the best actress prize in the Un Certain Regard sidebar for her performance in Konstantin Bojanov's India-set drama The Shameless. And Mysore-based Chidananda S.
Naik's FTII certificate film Sunflowers Were the First Ones to Know ...
bagged the La Cinef first prize, only the second Indian film to do so. There was much else that gave India's indie cinema a shot in the arm. Sceptics might insist that it was a flash in the pan, but longtime observers have reason to believe that what we saw in Cannes this year were genuine winds of change.
Seven takeaways for India from 2024 Cannes Film Festival: End of the neo-noir era Indian films at Cannes 2024 made a clean break from the Mumbai gangster that dominated the selection from subcontinent in recent years, principally in Directors' Fortnight ( Gangs of Wasseypur, Peddlers, Ugly, Rama Raghav 2.0 ). The personal and the political coalesced in stories captured through a fresh lens.
The four new Indian narrative features at Cannes this year were as diverse as they were original. An ode to female bonding in a metropolis that pauses for nobody, .
