The terms ‘independent’ or ‘indie’ are often used to identify art or culture outside the mainstream, but what constitutes truly independent cinema is tricky to define. For India, independent cinema is a relatively new phenomenon, following on the heels of the 1970s and 80s wave of alternative filmmaking known as Parallel Cinema. Two major factors led to the emergence of a new Indian independent film scene in the 2010s. Firstly, industry status was finally bestowed upon Indian cinema in 2001, which gave it an economic autonomy and legitimacy, opening up new ways of financing films. Secondly, the late 1990s saw the opening of India’s first multiplex in New Delhi by PVR, with choice of screens meaning both the fragmentation of the Indian film audience and the birth of a new multiplex crowd with different tastes and a growing interest in film genres. 2012 was a banner year for the consolidation of new Indian independent cinema, with the release of Ship of Theseus, Peddlers and Gangs of Wasseypur. The latter two-part crime epic pointed towards ways in which filmmakers would start to fuse the traditions of mainstream popular Indian cinema with more unconventional indie aesthetics. The rise of streaming platforms such as Netflix also helped to augment new Indian independent cinema, offering up both an alternate revenue stream and bringing a younger audience to many new and exciting filmmakers. This year, Payal Kapadia’s masterly Mumbai-set drama All We Imagine as Light – a poetic narrative centred on three young nurses navigating the chaotic imperfections of urban India – not only became the first Indian film to be selected for Cannes competition for 30 years, but it also went on to win the festival’s prestigious Grand Prix. Yet, as Kapadia’s film was co-financed abroad, it also stirred up a contentious debate about the politics of film financing in India. If the money for a film originates in the UK, Germany, Canada or France, does this make it less of an Indian film? Can India not claim it as their own? But this debate obscures a more pertinent point: that the various funding bodies and organisations that have been set up over many decades in India do not have a healthy track record when it comes to the more experimental side of Indian cinema. This rich aesthetic vein has never been fully supported or endorsed by the broader system. You only have to turn and look back at Parallel Cinema era filmmakers like Mani Kaul and Kumar Shahani; the latter in particular was left out in the cold for many years and essentially ostracised. Kapadia is not the first to buck the trend and seek financing outside of India, but in doing so, both A Night of Knowing Nothing (2021) and now All We Imagine as Light demonstrate less of a breakthrough and more of a triumph for an Indian experimental tradition that has never really been given its due.

Dhobi Ghat (2010)

Co-produced by and also featuring Aamir Khan, Kiran Rao’s debut feature was one of the first in the new wave of Indian independent films from the 2010s. Dhobi Ghat weaves together the lives of four characters from disparate backgrounds into a microcosm of contemporary Mumbai. Shot on multiple formats including Super 16mm and Mini DV, and much of it on location, Rao’s Mumbai is a metropolis populated by loners, misfits and migrants. It’s a film about the act of looking: Arun (Aamir Khan) is a reclusive painter, Shai (Monica Dogra) an amateur photographer, and Yasmin (Kriti Malhotra) a video diarist. However, their gazes are determined by broader socio-economics such as class. Interestingly, the one whose work is not engaged in ‘looking’ is Munna (Prateik Babbar), a ‘dhobi’ (laundry washer) and symbol of the underclass, whose gaze is altogether fixed in a reality from which he cannot escape.

FAQs

1. What defines independent cinema in India? Independent cinema in India is characterized by films that are outside the mainstream, often exploring unconventional themes and narratives.

2. How has the rise of streaming platforms impacted Indian independent cinema? Streaming platforms like Netflix have provided a new avenue for independent filmmakers to showcase their work and reach a wider audience.

3. What are some key films that have contributed to the Indian independent cinema movement? Films like Ship of Theseus, Gangs of Wasseypur, and Ankhon Dekhi have been pivotal in shaping the landscape of independent cinema in India.

4. How has the financing of Indian independent films evolved over the years? With the opening up of new funding opportunities and co-productions with international partners, Indian filmmakers have been able to explore more experimental and artistic projects.

5. What are some common themes explored in Indian independent cinema? Themes of identity, social inequality, and cultural heritage are often central to many Indian independent films, reflecting the diverse narratives of the country.

6. How has Indian independent cinema been received internationally? Indian independent films have gained recognition on the global stage, with screenings at prestigious film festivals and critical acclaim from international audiences.

7. What role do actors and directors play in shaping Indian independent cinema? Actors and directors in the indie film scene often take on more creative and experimental projects, pushing the boundaries of traditional storytelling and filmmaking techniques.

8. How does Indian independent cinema compare to mainstream Bollywood films? Indian independent cinema offers a more nuanced and diverse range of storytelling, often delving into complex characters and social issues that may not be explored in mainstream Bollywood.

9. What impact does Indian independent cinema have on the cultural landscape of the country? Independent films contribute to a more vibrant and diverse cultural landscape in India, showcasing the rich tapestry of stories and voices from different regions and communities.

10. What can we expect from the future of Indian independent cinema? The future of Indian independent cinema looks promising, with a new generation of filmmakers pushing boundaries and exploring innovative storytelling techniques that will continue to captivate audiences both at home and abroad.

Tags

Indian independent cinema, Bollywood, Parallel Cinema, Streaming platforms, Film financing