Even as itinerant cinephiles had virtually given up on IFFI, the country’s prestigious and long running international film festival, threw a pleasant surprise. It was if the authorities had finally heard the attendees and their dismay at the way IFFI was drifting away in desultory.
At the annual 56th edition of International Film Festival of India at Goa it seemed as if IFFI had got its mojo back. In recent years, the point of discussion about IFFI, at IFFI, had always been how the South Asia’s premier contemporary cinemas carnival had gotten into a rut of sorts.
Besides overt Bollywoodisation and caught in the commercial cinemas claptrap IFFI was being dismissed as a Shor Sharaba Red Carpet thamasha with the film festival’s lifeline and sustainer – the audience – been given the short shrift. As a result attendance being on the wane, due to these and other attendant problematic pinpricks.
But what one witnessed at the recently concluded 56th edition of IFFI was that things have, and are, changing for the better, with audiences and cinephiles, being seen as the fulcrum and pivot of IFFI’s success.
Winds of change has wafted across the IFFI and its organisers that several welcome changes that were in place this time stood out with almost all those who made their Haj to the Mecca of India’s film festival – IFFI, Goa, effusive in their praise and turned into one happy lot that IFFI has finally heard them out.
With Goa as its permanent port of call past 22 years, International Film Festival of India, in last 56 editions, has had a chequered journey. Drawing cinephiles and cine aficionados by droves from far, near and wide.
Since inception in 1952, IFFI – as India’s premier international film festival has provided ubiquitous platform for showcasing contemporary world cinemas as also foster an inclusive culture of better appreciation of cinema and film going habit.
The annual, nine-day 56th Edition of IFFI, from November 20 to 28, 2005, however, thankfully lived up to its stated objective of “Celebrate the Joy of Cinema.”
The first, and foremost of this was, the conscious and definitive break from the past. The traditional glamour and glitz driven Opening Ceremony earlier more of a private show for invitation and pass holders held at the Shyama Prasad Mukherjee Stadium. In a welcome and much appreciated departure from the past IFFI did away with traditional time-consuming opening ceremony function.
For the first time in its distinguished journey, the International Film Festival of India (IFFI) stepped beyond the walls of tradition into the vibrant heart of Goa—embracing its people, streets and spirit in a celebration like never before.
The indoor festivities gave way to glorious, pro-people, participative Goan tradition of colourful tableaus and carnivalesque celebration of life through a riot of colour, crescendo and community camaraderie. The opening ceremony turn into an Opening Street Parade bringing pomp and pageantry, vibrant colour, multifarious music and festival zing to the streets of Panaji.
Several state tableaus – Andhra Pradesh, Haryana and Goa, showcasing the cultural identity of the region coveted attention even as grand cinematic tableaus from several major production houses along with special NFDC 50 years tableau, marked the retinue of all that IFFI is and represents. IFFI’s street parade, a novel, and much needed concept, turned Goa into a living, breathing Arabian Nightesque wonder!
Giving its grand opening today a truly fantabulous makeover, IFFI 2025 transformed the Capital City of Panaji/Panjim into a vibrant, colourful live canvas—where cinematic brilliance coalesced with the cultural splendour and the ageless magic of storytelling spruced up the streets of Goa.
As artists, performers and cinephiles filled the boulevards with energy and entertainment, Goa transformed into a pulsating corridor of creativity—signalling not just the beginning of a festival, but the dawn of a bold new chapter in IFFI’s legacy. The evening’s spectacular carnival saw the showcasing of the cultural exhibits from various states, including Goa’s 12 talukas, their rich traditions, and vibrant tableaus from major cinema houses.
More than two dozen floats—including 12 presented by the Goa government—celebrated India’s cinematic heritage, the world of animation, and the rich diversity of regional cultures. Major highlights of the event were the grand folk production Bharat Ek Soor, presented by Central Bureau of Communication and NFDC 50 Years’ Tableau, honouring five decades of nurturing filmmakers and fostering cinematic innovation across the nation.
Featuring over 100 artists performing traditional dances, the production captivated audiences with its scale and energy. Adding to the excitement was the appearance of beloved animated characters such as Chhota Bheem, Motu Patlu, and Bittu Bahanebaaz, whose lively interactions drew enthusiastic cheers from spectators. The parade set a vibrant and festive tone for the days of cinematic celebration ahead.
Indeed, IFFI through this master stroke, reminded one and all of soft power of cinema wherein India’s influence, innovations and strides, as also the Orange Economy wherein built on the three pillars of content, creativity, and culture, all of which IFFI celebrates in abundance, were in full flow through various innovative sections that were introduced this time.
What was also heartening was this time around with 10 plus screening venues spread across Capital City of Panaji ensured films virtually reached the doorsteps of die-hard film buffs besides ensuring there was no crowding at the main festival venue.
Also, introduced, informally, the was the rush line concept, which ensured that those that could not make their fastest finger first to book the tickets for their favourite films could always stand and await their turn once the ticket holders made it to the auditorium.
One other most thoughtful, innovative and most welcome of changes that the 56th Edition of IFFI ushered in was the Red Carpet Aisle Arch that connected the Inox Screens with the GMC building which housed the festival departments.
The arch, imaginatively and creatively built ensured while the stars and officials crossed over for the Red Carpet and other dos, the delegates were not disturbed from their routine to make it to the screens without any hindrance or security stoppages as they could just walk below the arch and go about their business like the ones that went about just above.
Similarly, even the Press Conferences were relegated to the room adjacent to the Media Centre further reducing the hustle bustle and hindrances at the courtyard before the Inox screens. Likewise the high decibel noise from the blaring speakers that vitiated the otherwise ethereal experience of movie watching was totally absent with a welcome quiet around the festival complex.
In keeping with this year’s theme of Convergence of Creativity & Technology and given we are living in the age of AI and disruption it is bringing about, saw for first time launch of country’s first AI Film Festival in collaboration with WAVES Film Bazaar and tech firm – LTIMindtree.
The innovative experiment saw 68 entries from 18 countries with 27 picked for competition awards. The award-winning film packages from five international AI film festivals, (Adobe Max, AI Film3 festival from USA, Burano AI Film Festival from Italy, Metamorph AI Film Awards from UK, Omni Film Festival from Australia) and 14 individual filmmakers from across the world.
Another notable feature this year was the Cinema AI Hackathon 2025. Seeking to fete the dynamic intersection of art, technology, and ethics in filmmaking, the new feature saw creators worldwide push the boundaries of storytelling using AI-driven tools for scriptwriting, video generation, editing, and production — while ensuring responsibility, transparency, and authenticity in creative output was not compromised.
Incidentally, two of IFFI’s academic sessions included one on The New AI Cinema: A Discourse on Generative AI and LLMs which provided a perspective peek into this new age development. The other being The Complete VFX Production Magnanimity- Masterclass by VFX Wizard Pete Draper! seeing a well-attended session.
IFFI’s parallel platform, Waves Bazaar, provided the landscape and power of collaboration in the evolving landscape of filmmaking and film market wherein the filmmakers, producers, sales agents, also saw several state – Madhya Pradesh, Tamil Nadu, and other pavilions vigorously pitching for business and showcasing their respective states’ policy initiatives to woo film trade, tourism, film co-production and location shooting business. Woefully, a Karnataka specific pavilion was conspicuous by its absence.
IFFI which showcased over 250 plus films drawn from around 81 countries ensured that with gender inclusivity being the new normal among film festivals featured as many as over 50 films by women directors and the new wave of emerging talents the centre stage.
With MAMI taking a break due to funds crunch, IFFI, this year was able to bring a double dose of much celebrated cinemas from across the globe much the keen discerning film circuit followers delight.
The film festival’s main sections International Competition, Best Debut Feature Film of a Director aimed at promoting outstanding new talent in international cinema a hand-picked selection of five international and two Indian films, ICFT-UNESCO Gandhi Medal, Rising Stars selection of outstanding work by first-time filmmakers and showcases the cinematic vision of the next generation of storytellers from across the world, From the Festivals, Macabre Dreams, UNICEF-2025, Mission Life, Experimental Films, apart from the festival’s main stay – Cinema of the World, saw an array of choicest films for the film buffs to feast upon.
In fact, one could safely say, that the audiences were spoiled for choice as they sought to catch up with the crème la crème of cinemas.
As for academic sessions, which takes audiences and aspiring talents beyond watching films specifically curated and well ideated sessions at Kala Academy saw full attendance throughout.
So much so, masterclasses sessions attracted participants from Australia, Japan, Germany, and Canada, epitomising the academic exercises strength as a global platform for cinematic collaboration and talent exchange.
Among few include The Luminary Icons: Creative Bonds & Fierce Performances – An In Conversational Workshop on Acting, had actresses Khushboo Sundar and Suhasini Maniratnam discussing their journeys and experiences in cinema.
Giving Up is NOT a Choice which ran participants through the process of harnessing personal experience and emotional truth to create authentic, compelling on-screen performances. It offered practical tips on voice, body language, and scene work, bridging the gap between acting discipline and film requirements.
A Global Narrative through Independent Cinema: A Women’s Panel shone the spotlight on evolving roles of women in contemporary global cinema, particularly within the independent film industry.
Film is Made on Two Tables – “Writing and Editing; A Perspective” and From Mind to Screen: Vision to Execution – An Editing workshop both sessions providing a deep dive into the various aspects of the film making art and aesthetics.
Coming to films showcased proper, nearly 50-65 per cent of films showcased in various sections turned out to be not only crowd pullers but also worthy of watch and appreciation.
The 56th Edition which reinforced audiences’ faith in its curated choices and as an ideal ground for who’s who in the entertainment industry to be seen there and done that created a healthy buzz about the film festival leaving those that flocked to it taking the annual Cinema Haj were a satiated lot.
However, one sad note, though, of an otherwise, well ideated and executed IFFI was the sad passing away of the He-Man of Bollywood – Dharmendra which left a mournful note on the congregation assembled to celebrate the cinema carnival. Viva la Cinema!