
SRFTI alumnus only Indian among 24 emerging Asian filmmakers at Busan
KOLKATA: Arnab Laha has been officially selected as one of the 24 emerging filmmakers from across Asia, out of 40 countries, and will attend the prestigious Busan International Film Festival (BIFF).
The alumnus of Satyajit Ray Film and Television Institute (SRFTI) is the only talent from India to be selected for the festival's prestigious educational programme called CHANEL X BIFF Asian Film Academy.
Laha was selected among eight cinematographers from all over Asia and will be shooting one short film that will be screened at BIFF.
The intensive 20-day programme will run from Sept 7 to Sept 26. For cine enthusiasts in Kolkata, BIFF is recognised as Asia's largest and most influential film festival and is regarded as one of the six top festivals in the world, alongside Cannes, Venice, Berlin, Rotterdam, and Toronto.
You Can Also Check:
Kolkata AQI
|
Weather in Kolkata
|
Bank Holidays in Kolkata
|
Public Holidays in Kolkata
This highly competitive fellowship programme is a platform for talented filmmakers to receive mentorship from global industry leaders, collaborate across cultures, and premiere their work on the international stage. The other fellows are from Iran, China, Nepal, Korea, Thailand, Hong Kong, Myanmar, Bangladesh, Armenia, Kazakhstan, Krygyzstan, Lebanon and Pakistan.
According to Laha, this selection is a big step forward since it will allow him to deeply understand how filmmakers in South Korea operate—especially in the post-Bong Joon-ho era, when global storytelling standards have risen.
'I'll get to interact with experts, connect with renowned South Asian filmmakers, and gain insights into the Asian film market.
This exposure will directly influence my next feature, as I aim to raise the bar for Bengali cinema to meet international standards. As part of BAFA, I'm attending the 'Bridge to Hollywood' workshop with the Motion Picture Association.
It offers mentorship from a Hollywood producer and a pitching competition, with a chance to attend film events in the US and Australia,' Laha said.
The fellowship will give Laha a 'chance to co-create'. He will be collaborating with an Iranian director to make a five-to-seven-minute short film for an international audience. 'It will premiere at BIFF, giving me a strong platform for global circulation and cultural exchange through cinema,' Laha added.
Laha's journey began at St. Xavier's College with a foundation in multimedia and animation before he joined SRFTI's cinematography department.
A landmark in his career was serving as the cinematographer for 'The Horse from Heaven', India's official entry to the 95th Academy Awards, Oscars in the Best Live Action Short Film category.
His filmography includes 'The Strange Life of Dhrubo' (2025), 'Academy of Fine Arts' (2025), 'Colored Sweets' (2024), 'Horse From Heaven' (2022), and 'Termites' (2021). His cinematography in 'The Strange Life of Dhrubo', which won the Best Film award in the Bengali Panorama segment of KIFF, was lauded by many.
Laha thanked his exposure and training at St. Xavier's and SRFTI for shaping him as a multi-disciplinary artist. 'Both institutions shaped me deeply. St Xavier's nurtured my roots in painting and graphic design, and being a topper there gave me the confidence and mentorship to pursue any creative direction. SRFTI provided rigorous training, a treasure of cinema books, and access to great minds like Anil Mehta, Anurag Kashyap, Aditya Vikram Sengupta, and Sudeep Chatterjee.
Together, they helped me grow as a holistic artist, not just a technician,' he said.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Pink Villa
2 hours ago
- Pink Villa
Park Chan Wook's No Other Choice starring Lee Byung Hun and Son Ye Jin to kickstart 30th Busan International Film Festival
No Other Choice, much like its name, is very straightforward with underlying complexities about life. The 2025 Busan International Film Festival, famously known as BIFF, has announced its plans to have esteemed director Park Chan Wook's upcoming project as its upcoming release. Marking his return to the film festival after 3 years, since the premiere of Decision to Leave (2022), which received global praise, he seems to be eyeing another Best Director win, albeit not at the Cannes Film Festival but back at home, this time around. What's No Other Choice about? Capturing the desperate thoughts of people without jobs, No Other Choice follows Lee Byung Hun 's Man Su, who ends up in a fix after suddenly losing his job one day. He is fired after 25 years of service at a paper mill, and with no way to earn, he comes to a loss about saving his home, which he has worked hard to build. He wishes to protect his family- Mi Ri (Son Ye Jin), their two children, Si Won and Ri Won, and their two pet dogs, and tries his hardest to survive in the cutthroat world. It is, however, not simple for the world to trust or bear a man with no work, as he tries his best to land something. Many odd jobs and failed attempts lie in his path, with other strange people falling in his way to gain back his peaceful life. Other characters in the film include Seon Chul (Park Hee Soon), Beom Mo (Lee Sung Min), A Ra (Yeom Hye Ran), and Si Jo (Cha Seung Won). The director and the lead actor are reuniting for the third time after Joint Security Area and Three… Extremes. No Other Choice is eyeing a September release, following which it will also premiere internationally at the Venice Film Festival. Meanwhile, the 30th Busan International Film Festival is all set to begin on September 17 and close on September 26, with the 20th Asian Contents & Film Market taking place from September 20-23. Actor Lee Byung Hun will be acting as the host for this year's opening ceremony.


Time of India
a day ago
- Time of India
First Summer: A Groundbreaking Korean Short Film Wins at Cannes, Celebrating Romance in Golden Years
Hey there, movie buffs and story lovers! Picture this: A grandma with more spark than a fireworks show, chasing romance in her golden years. That's the magic of 'First Summer' (original title 'Cheot Yeoreum'), a short film by director Heo Ga-young that's turning heads worldwide. Tired of too many ads? go ad free now Released in 2025, this 30-minute masterpiece just clinched the prestigious first prize at the Cannes Film Festival's La Cinef section - yep, the very first Korean film to snag that honor! It's a massive win, spotlighting fresh talent from the Korean Academy of Film Arts and proving that bold storytelling knows no borders. Heo, inspired by her own grandmother's tales, crafts a narrative that reignites passion in unexpected places. This Cannes triumph isn't just a trophy; it's a game-changer. La Cinef celebrates student films, and 'First Summer' stood out among global entries, earning rave reviews for its witty take on aging and desire. Critics hailed it as a "refreshing breath of air," with Heo receiving the award amid cheers at the iconic festival. This victory puts Korean cinema on the map for innovative shorts, following in the footsteps of acclaimed directors who've launched careers from Cannes. A Tough Choice: Duty or Desire? At the heart is Yeong-soon (veteran actress Heo Jin in a stellar role), a widow who's spent decades in self-sacrifice - raising family, tending to an ailing husband. But surprise! She's got a secret boyfriend, Hak-soo, and their love story unfolds in a lively dance hall, spinning under disco lights like a retro dream. The drama peaks when Yeong-soon must choose: her granddaughter's wedding or her lover's 49-day memorial rite, a Buddhist tradition honoring the departed. Tired of too many ads? go ad free now Her quip, "I've got more friends in the afterlife than here," mixes humor with poignant truth, making you chuckle and reflect. Heo drew from real life, living with her grandmother who was full of mysteries - always dolling up and slipping out for unknown adventures. A marathon chat revealed her grandma's hidden romance, inspiring Heo to say, "I wanted to restore this woman's scorching summer." It's a clever nod to overlooked lives, wrapped in subtle wit. Twirling Toward Freedom: Desires Unleashed 'First Summer' shines in depicting Yeong-soon's vibrant inner world. She's got style - think butterfly brooches and sultry moves that scream independence. The film contrasts her home-bound dances with a liberating forest spin near the rite, symbolizing escape from expectations. It's funny too: Yeong-soon fretting over her missing beau like a lovesick teen ignoring texts. Heo stresses that love and validation aren't just for the young, challenging media stereotypes of elders as sidelined. The Cannes win amplifies this message, with the film now screening at festivals like Bucheon International Fantastic Film Festival. It's a reminder that desire doesn't fade - it evolves.


The Hindu
3 days ago
- The Hindu
‘April' interview: How Dea Kulumbegashivili captured an abortion on camera in orthodox Georgia
'As a Georgian, I don't believe much in hope,' Dea Kulumbegashvili says. 'I'm more of a here-and-now person.' It feels appropriate given that she shot her film in secret, without permission or protection, and watched her country pretend her work did not exist. In spirit, she's not far from Iranian filmmakers like Jafar Panahi, who once hid a film in a cake to get it out of the country, or Mohammad Rasoulof, who crossed mountains on foot to escape prison. A few borders away, Kulumbegashvili filmed April inside real maternity clinics, letting the camera stay with what power would rather look away from. April, her follow-up to the Cannes-winning Beginning, has the rigor of reportage and the nerve of a feminist horror. It follows Nina, an OB-GYN in rural Georgia, who performs covert abortions in her spare time. The film's most talked-about moment is an uncut, prolonged scene of a termination on a deaf-mute teenager that anchors its polemic in a steady thrum of embodied truth. 'I wanted to show it. I needed to show it,' Dea says. 'Because I think it's time we really bring the female gaze into the beautiful realm of cinema.' For lead actor Ia Sukhitashvili, that gaze demanded immersion. 'We were there for two years,' she says. 'And during that time, I was consistently thinking about Nina. Sometimes I lost connection with myself, but I exerted all effort to feel the emotions of this character. It was very challenging.' Sukhitashvili had previously won Best Actress at San Sebastián for Beginning, but April called for a different kind of surrender. She attended real births and observed real doctors. 'It was a kind of magic,' she recalls. 'There was complete silence. Just eye contact between the chief doctor and the assistant. And observing this helped me understand who Nina is.' Nina is a woman on the brink of exhaustion, administering epidurals by day and birth control pills by night, often at great personal risk. But the risk isn't merely logistical. In Georgia, abortion is technically legal up to 12 weeks but access is spotty, especially in rural regions steeped in Orthodox Christian tradition where even speaking the word can be perilous. So she made April the only way she could: clandestinely. 'I was able to get away with it because nobody cared about me,' she says, with a bitter sense of clarity. 'Now, more people care, and it's going to be more difficult. Or even impossible.' Still, she made the film. Kulumbegashvili and her team embedded themselves in a small-town maternity clinic for nearly a year, watching births, surgeries, and abortions unfold in real time. 'I would like to give my thanks to the administration of the small town clinic in Lagodekhi, who allowed us to observe this process and to witness these procedures at this birthing clinic,' said Ia. 'We made respective amendments to the screenplay based on our observations,' she added. For both the actor and director, this almost apprenticeship-like immersion seemed to blur the line between fiction and witness. And this commitment to realism gives April its almost unbearable power. Its lived politics are unsensationalised, and are felt in the way Nina drives alone down foggy highways, stops for anonymous sex, and resumes her route to another kitchen-table abortion. In Georgia, this kind of visibility is unsurprisingly dangerous. Though April received international acclaim, no theatre in the country has dared to screen it. 'It's kind of like we live in this absurd reality where there is no answer why my film cannot be screened,' Dea said. 'Dictatorship is usually absurd and surreal. And once you can't call things anything anymore, this is when you know that you're heading into the most oppressive of regimes.' Yet, April is not about despair, or rather, it refuses to end there. In its long takes and spare dialogue, and its unwavering view of the female body as both vessel and battleground, it insists on an understated resistance. 'I think of it as feminine, not just feminist,' Dea says. 'My films are about the experience of living.' Nevertheless, the horror is real and quite deliberate. 'I would really love to make an actual horror film one day,' she admits, laughing a little. 'But I think horror already gives us the most freedom to be honest, to explore humour, and to not take ourselves too seriously.' In many ways, April is already a horror film, though one grounded in the terror of not being seen, believed, or even allowed to help. Asked about other films in the genre — like Audrey Diwan's Happening and Eliza Hittman's Never Rarely Sometimes Always — Dea nods. 'I admire both of them. They're incredible women and artists. I think cinema is a form of dialogue with everything that came before and everything that's coming. Without that dialogue, art is impossible.' The film's centerpiece abortion scene has stirred both admiration and unease. But for Dea, the decision was never up for debate. 'That was the most obvious thing,' she says. 'We talk about what's hidden in this world. About how people don't want to acknowledge that abortions happen.' When her predominantly male producers questioned if the audience could 'handle' it, she says, 'that made me even more convinced.' That conviction ripples across that one unnervingly static frame. The scene is nearly silent, centred on the young girl's pelvis. We do not see Nina or her tools. Only a girl, twisting in discomfort, and her sister's hand, off-frame, holding hers. The whimpering soundtrack of a moment no one else will witness. 'We owe it to the women to show this', Ia says. For her, stepping into Nina's body was a means to continue a tradition of feminist storytelling, but also of breaking it open. 'You don't find every character easily,' she says. 'Some, you have to wait for and feel the severity of the created situation.' That the film may never screen in Georgia is, for both women, a heartbreak. 'People ask me all the time,' Ia says. ''Why haven't we seen it?' And I don't have a good answer. But I believe it will happen. One day, no matter the effort.' April is currently available to stream on MUBI