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The Hindu
24-05-2025
- Entertainment
- The Hindu
Cannes 2025: India's appearances on the red carpet and beyond, in pictures
From jury seats to global premieres to red carpet statements, India's footprint on the Croisette in 2025 at the 78th Cannes Film Festival has been one of its more visible ones in recent memory. ALSO READ:The politics of the Cannes red carpet One of the headline moments was filmmaker Payal Kapadia's return to the festival, this time not with a film, but as a jury member. Just a year after her historic Grand Prix win for All We Imagine As Light, Kapadia joined an international panel led by Juliette Binoche. In Un Certain Regard, Neeraj Ghaywan premiered Homebound, exactly a decade after Masaan screened at Cannes. The film, co-produced by Dharma Productions and featuring performances by Ishaan Khatter, Vishal Jethwa, and Janhvi Kapoor, drew significant attention — bolstered by the late addition of Martin Scorsese as executive producer. Though Homebounddid not win in its category, its emotional reception and prominent backing mark it as one of India's most notable international launches this year. ALSO READ:The true story behind Neeraj Ghaywan's 'Homebound', inspired by a pandemic-era New York Times essay Cannes also served as a platform for Indian cinema's rich legacy, with the 4K restoration of Satyajit Ray's Aranyer Din Ratri screening as part of the Cannes Classics section. The event was attended by original cast members Sharmila Tagore and Simi Garewal, alongside filmmaker Wes Anderson, a known admirer of Ray's work. Offscreen, social media buzzed when Anupam Kher reunited with Robert De Niro at the screening of Kher's musical drama Tanvi the Great. Meanwhile, red carpet moments sparked conversation — most notably model Ruchi Gujjar's bridal look featuring a necklace with Prime Minister Narendra Modi's portrait, and Aishwarya Rai's look that many read as a nationalist statement. Here's a look at the most prominent appearances from India at the Cannes Film Festival this year: With the festival coming to a close today, Alia Bhatt finally made a much-awaited debut at the 78th Cannes Film Festival, decked up in a Schiaparelli cream gown that stole everyone's attention. Just a year after her historic Grand Prix win for All We Imagine As Light, Payal Kapadia joined an international panel led by Juliette Binoche. Janhvi Kapoor joined the cast and crew of Homebound to walk the red carpet at the 78th Cannes Film Festival on Tuesday evening ahead of the film's official screening in the Un Certain Regard section. Veteran actors Sharmila Tagore and Simi Garewal attended the screening of Satyajit Ray's Aranyer Din Ratri at the Cannes Film Festival, where a newly restored 4K version of the film was showcased under the Cannes Classics section. Renowned filmmaker Wes Anderson, a longtime admirer of Ray's work, introduced the screening and played a central role in the film's six-year-long restoration. Indian model and actress Ruchi Gujjar caused a stir and a collective double-take by showing up in full bridal regalia, complete with a necklace flaunting none other than Prime Minister Modi's face as the centrepiece accessory Aishwarya Rai arrived sporting an ivory sari, with a streak of vermillion sindoor down the part of her hair read as a not-so-subtle nationalist salute to India's recent eponymous military action in Pakistan. Urvashi Rautela attended the opening ceremony and the screening of Patir un jour (Leave One Day), wearing a multicoloured strapless gown and carrying a parrot-shaped crystal clutch that drew significant attention on social media. First-time attendee Nitanshi Goel, who starred in Lapataa Ladies, made her Cannes debut this year. While her red carpet gown attracted notice, it was her second outfit — a lehenga saree paired with a pearl-embellished hairpiece featuring miniature portraits of Indian cinema legends — that received particular attention for its tribute to the history of Indian film. Veteran actor Anupam Kher was in Cannes for the premiere of his new film Tanvi the Great, scheduled for May 17. During his visit, Kher reunited with Robert De Niro, with whom he co-starred in Silver Linings Playbook. Indian actor-director Boman Irani made his red carpet debut at the 78th Cannes Film Festival, looking sharp in a patterned black tuxedo and shades. Irani, 65, is part of Anupam Kher's forthcoming directorial Tanvi The Great, which was screened at the Cannes film market Marché du Film. Masoom Minawala was one of the many Indian influencers spotted this year at the Cannes Film Festival red carpet Nancy Tyagi also debuted her looks on the red carpet at the Cannes Film Festival 2025
Deccan Herald
22-05-2025
- Entertainment
- Deccan Herald
Cannes: Neeraj Ghaywan posts picture with 'biggest Indian star' Payal Kapadia
Last year, Kapadia charted history by becoming the first Indian filmmaker to win Grand Prix, the second highest award at the Cannes Film Festival, for her debut feature film 'All We Imagine As Light'.
Pink Villa
22-05-2025
- Entertainment
- Pink Villa
After slamming cinema intellectuals for praising AIWAL over Homebound, Karan Johar has change of heart towards Payal Kapadia, find out why
Recently, filmmaker Karan Johar criticized so-called cinema intellectuals for showering praise on Payal Kapadia's All We Imagine As Light while ignoring his own work. He pointed out how his production house has consistently pushed creative boundaries, yet people choose to mock him for projects like Nadaaniyan. However, during the premiere of Homebound at Cannes 2025, it seems there's been a change of heart, Karan now appears eager to connect with Kapadia and even expressed interest in hanging out with her. Karan Johar was asked who he'd like to bump into at Cannes 2025 during a chat with The Hollywood Reporter India. He responded enthusiastically, 'You know who I really want to meet? Someone I've never met, I want to meet Payal Kapadia. Can someone please make that happen? I want to tell her she's looking stunning. I'm so proud of her. She's a jury member this year! She broke through just last year, and in such a short time, she's created all the ripples a filmmaker possibly can. Seeing her up here is just incredible. I'm so excited, I really want to hang out with Payal Kapadia.' For those unaware, in a conversation with Galatta Plus, Johar reflected on how he often receives more backlash for producing light-hearted content like Nadaaniyan than appreciation for backing meaningful cinema such as Homebound. He admitted the criticism affects him, and he believes it stems from the perception that he's too flamboyant or doesn't fit the mold of a "serious" filmmaker. Karan expressed frustration over the lack of recognition for the risks his production house takes. He noted that when Dharma Productions tackles complex or socially relevant themes, it tends to go unnoticed. 'People will fixate on Nadaaniyan and drag my name through endless critique. It instantly becomes 'Karan Johar's Nadaaniyan,' and that's all anyone talks about,' he remarked. He went on to commend All We Imagine As Light and its director, Payal Kapadia, whose work made a significant impact at Cannes the previous year. However, he pointed out the double standard, that while so-called cinema purists readily applaud films like Kapadia's, they fail to acknowledge that even a commercial banner like Dharma had a film officially selected at the prestigious festival.
Free Malaysia Today
21-05-2025
- Entertainment
- Free Malaysia Today
Women claim spotlight in India's macho movie industry
Bollywood film director and screenwriter Reema Kagti (centre) attends a masterclass by US screenwriter Alexander Dinelaris and Bollywood actor and filmmaker Boman Irani in Mumbai. (AFP pic) MUMBAI : India's giant movie industry is known for its macho, men-centric storylines, but a wave of women filmmakers is helping to break the mould. 'More and more women are writing their stories, turning them into films,' said writer-director Reema Kagti, who believes the trend brings a more 'real and healthy perspective' to movies, with complex, outspoken women characters who are masters of their own story. The world's most populous nation churns out 1,800 to 2,000 films in more than 20 languages annually – and Hindi-language Bollywood is one of the largest segments, with more than 300 productions. Yet the films have often failed to portray women authentically, choosing instead to box them into being passive housewives or mothers who bow to societal pressure. A 2023 study by the Tata Institute of Social Sciences (TISS) found that female characters in most chart-topping Indian films play the role of a romantic interest – and are 'fair skinned with a thin body type and a small screen time'. But industry insiders point to a slate of women-directed movies earning international acclaim that have also scored well at the tough domestic box office. Malayalam-language film 'All We Imagine as Light', a poetic tale about two nurses forging an intergenerational friendship, was the first Indian production to win the Grand Prix at the 2024 Cannes Film Festival. Director Payal Kapadia shunned the one-dimensional portrayal of women on Indian screens which tends to mimic 'unrealistic standards set by society', she said, in favour of one that allows women to 'just be ourselves, authentic and true to how we are in everyday life'. India's official entry for the 2025 Oscars was Kiran Rao's 'Lost Ladies' – 'Laapataa Ladies' in Hindi – a comedy which challenges convictions surrounding marriage and womanhood, a sign of a shift – even if it missed the final shortlist. 'More inclusive narratives' It is not only arthouse films that are winning hearts. Mainstream movies with strong women co-leads are filling up theatres as well. 'Stree 2', a horror comedy featuring Bollywood star Shraddha Kapoor, smashed box office records last year, beating earnings by superstar Shah Rukh Khan's action flick 'Jawan'. And 'Crew', a heist comedy about flight attendants, was widely seen as a win for women-centric movies. 'Women still face challenges in telling stories from their perspective', said actor-producer Dia Mirza. 'However, the increasing presence of female directors, producers and writers is paving the way for more inclusive narratives.' Movies can also tackle the way regressive traditions manifest in the daily lives of Indian families. 'Mrs', a Hindi-language film released in February, dives into the unseen labour of a newlywed housewife, her silenced aspirations and the societal conditioning she struggles with. 'Across social media, you can see people posting – that the majority of women in India go through this turmoil,' said Lakshmi Lingam, a Mumbai-based sociologist. She points out that there was no backlash to the film. 'The voices of women saying, 'Yes, this is true and I can see myself there' is very high,' she said. 'So, there is that kind of ecosystem of women resonating with many of the ideas these women filmmakers are making.' 'Still misogynistic' Industry figures suggest progress is being made, albeit slowly. Last year, 15% of Indian movies surveyed hired women for key production positions, up from 10% in 2022, according to a report by Ormax Media and Film Companion Studios. Konkona Sen Sharma, an actor-director who is a champion of women-oriented cinema, is cautiously optimistic about the role women will play in the future. Women are increasingly present in the film industry, but 'we still don't have enough women in positions of power,' she said. Filmmaker Shonali Bose points out that women directors need the independence and financial backing to tell new stories. 'Our problem is not to do with gender, it is getting to make what we want to make,' Bose said. 'When we want to make world cinema, we are facing market forces which are getting increasingly conservative.' Lingam, the sociologist, said that while moviegoers are being 'exposed to the changing discourse', mainstream films are 'still very male-orientated' and plotlines 'still misogynistic'. 'Some of the women scriptwriters have great ideas, but producers don't want to back those stories,' she said. 'They intervene and make so many changes by converting the female protagonist into a male to make a 'larger-than-life character'. At the end of the day, the buck actually dictates what can be made and what cannot.'
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First Post
18-05-2025
- Entertainment
- First Post
Cannes 2025: 'All We Imagine As Light' actress Chhaya Kadam returns to the festival, says 'Can never forget the day when...'
She added, 'Every time I see that photo, I feel I fuelled the courage of a lot of women in the country, especially who want to become actors.' read more 'All We Imagine As Light' actress Chhaya Kadam has come back to the Cannes Film Festival for the second time. She made a lot of headlines and heads turn last year with her appearance. She spoke about her second appearance which happens to be for a yet-to-release Marathi film. Talking about her most memorable moment at the festival in an interaction with Sucharita Tyagi, Kadam said, 'Jab us din best film announcement hui, to mujhe laga ki Payal uthke akeli jaayegi. Yaani aisa hota hai na? But wo uthi and hum teeno ko saath mein leke gayi." STORY CONTINUES BELOW THIS AD She added, 'Every time I see that photo, I feel I fuelled the courage of a lot of women in the country, especially who want to become actors.' Also, in an exclusive interview with Firstpost, said Chhaya , 'It didn't matter whether they knew how to act or not. Just their screen presence was important. Then those films needed a villain too and all movies then needed some fighting. Then the hero will give one fight and all villains will fall here and there. But now we should understand that audiences have changed. They have way more exposure than the audiences of yester-years. They want to see themselves in the characters that are shown on screen.' Chhaya believes that it's a great time for the craftsmen of today. Because once the scene was such that to be in the film industry you had to be beautiful, that was in fact the first requirement. And most importantly, an actress had to be fair. 'Now the first requirement is talent. And I would say OTT had a huge role to play in this change. The audiences understand the differences between fake and real.'
