Here's a detailed look at the timings for Film Screenings and our very own Q & A or Adda Sessions!
The films will be screened on our Youtube channel and Zoom Links have been provided for all Adda Sessions.
Catch all the fun on our Youtube channel -
our Facebook Events page too -
Trikonomiti by Kabbo Kabir - 8.55
The Discordant Note by Rehaan Das - 6.35
True Heroes by Bushra Binth - 10.38
Peoples’ Lives by Tanisha Singh - 6.37
Ekta Cinema Banabo by Mujtaba Kabbo - 10.51
Thuyar by Mohit Sarvanan - 11.0
Aasha by Lakshika Khurana - 3.27
My Choice by Aahana Sarin - 1.10
Trapped by Sonali Shanbag - 5.32
Minimalism by Ak...
Gender - End The Discrimination by Kritleen Kaur - 4.05
An Interview Of a Marionette by Sifat Rahman - 7.08
10th July 2021- https://insider.in/-workshops-on-filmmaking-jul10-2021/event
11th July 2021- https://insider.in/filmmaking-workshops-jul11-2021/event
Dr Hema Ramanathan believes that education is a public discipline; teaching is a social act; and research in education should mirror these concepts. In over 35 years as an educator spanning three continents and five countries, she has focused on supporting teachers and students in their educational endeavours. As a scholar, she has about
Dr Hema Ramanathan believes that education is a public discipline; teaching is a social act; and research in education should mirror these concepts. In over 35 years as an educator spanning three continents and five countries, she has focused on supporting teachers and students in their educational endeavours. As a scholar, she has about 35 publications, including two chapters and two books, and over 100 presentations at international, national and regional professional conferences.
Farhanoor Imtiaz Turjjo is a film enthusiast and considers himself a film analyst. His affection for cinema made him choose the path of filmmaking. Currently he is making self produced short films, working as a videographer and learning technical and professional skills. Turjjo is interested in feature films and hopes to make one someday.
K Ravi Kumar is a cinematographer, director and founder of Seven H Studios. He has an industry experience of almost 3 decades in advertising, TV, digital content and consulting.
Lalit Saini has been working in this field for the last 7 years. His passion for filmmaking is unmeasurable. Associated with more than 100+ films, he is unbeatable.
Vishwajyoti Ghosh is the author of the graphic novel ‘Delhi Calm’ (www. delhicalm.wordpress.com), a political graphic novel set in the 70′s and a visual book of postcards ‘Times New Roman & Countrymen’. He is also the creator of the cartoon column ‘Full Toss’ in Hindustan Times Edit Page, every Sunday, besides his earlier columns like B
Vishwajyoti Ghosh is the author of the graphic novel ‘Delhi Calm’ (www. delhicalm.wordpress.com), a political graphic novel set in the 70′s and a visual book of postcards ‘Times New Roman & Countrymen’. He is also the creator of the cartoon column ‘Full Toss’ in Hindustan Times Edit Page, every Sunday, besides his earlier columns like Backlog in Little Magazine and Acid Test in Down to Earth. His comics are regularly published in various journals and anthologies, both in India and abroad.
Associated with ‘Inverted Commas’ a communications initiative, he is currently working on a mapping project in the workers’ clusters of Gurgaon.
We are accepting entries to the Second edition of the Footprint Film Festival, 2021.
Submission Deadline: 15th June 2021
Please Read the Film Festival Guidelines carefully before submitting the entry.
ENTRY FEE : There is NO ENTRY FEE
FESTIVAL FORMAT : This is a short film non-competitive festival and hence ONLY Short Films should be submitted.
The entries can be short digital animation films too on the topic.
ENTRY FILM REQUIREMENTS
CATEGORIES: The various categories under which the films need to be submitted are – 1) Documentary 2) Animation 3) Science Fiction 4) Fiction 5) Films made on Mobile Phones
THEME: Environment and Climate change, Livelihoods, Gender, Learning and Education, Civil Rights, Art, Craft and Heritage, Peoples’ Stories, Collaboration, Wildlife, Technology.
DURATION: The films shall not be more than 10 (Ten) minutes, including the beginning and end credits. Films exceeding this time limit are liable to be rejected. The minimum length should be 1 minute including credits.
PRODUCTION PERIOD:The film should have been shot / completed after 1st January, 2020.
LANGUAGE: The short films may be in their original language, but MUST be subtitled in ENGLISH. Films submitted previously to any other festival should be clearly mentioned as such.
FILM FORMAT: The films should be in MPEG4 or AVI format. The recommended ratios are: 16:9 / 16:9 Full Height Anamorphic – in DV / HDV.
RIGHT TO SCREEN: The participants grant the organisers the non-exclusive rights to screen (non – commercial) their film / entry on their respective websites, at the festival and other associated screenings.
COPYRIGHT: The Film must not contain any copyrighted work(s) belonging to third parties unless (1) Participants have a license to use such works in the Film; or (2) the use participants’ Film makes of such works is a fair one under the copyright laws. Participants will retain any licenses and provide them to organisers upon request.
ORIGINALITY AND PERMISSIONS; INDEMNITY : Films must be the original work of the applicants. If a film is based upon another person’s life or upon a book or other underlying work, applicant(s) must secure any necessary rights to make such adaptations. However, it is not necessary to submit the adaptation rights agreements to the Festival. Neither the Festival nor its jurists investigates or attests to the authenticity of an applicant’s statement of authorship or rights secured. By entering the competition, you represent that you have secured all necessary rights.
Applicants are solely responsible for obtaining all necessary rights and permissions for third-party materials included in their films, including but not limited to music, trademarks, logos, copyrights, and other intellectual property rights. Footprint Film festival expressly disclaims all liability or responsibility for any violations of the foregoing.
GENERAL TERMS OF PARTICIPATION
The entry should be submitted by the Participant who may be the rights holder of the film or the person authorised to participate in the contest and accept the terms and conditions. For the purposes of this contest and subsequent distribution of the participating film, the Participant hereby confirms that he/she/it has the necessary rights to submit the entry and accept the terms.
Only the person who submit the entry will be considered as the “Participant”.
The participants agree that the organisers shall not be held responsible for any unauthorised use of the content by any third party and organisers do not guarantee the posting of any content.
The decision of the jury shall be final, unquestionable and binding on all participants. Once submitted, the entries cannot be withdrawn for any reason whatsoever. Organisers may reject any film without assigning any reason whatsoever and the same cannot be challenged.
All materials, documents, etc. (not the film) submitted for participation shall not be returned under any circumstances and shall become the property of the organisers.
The organisers reserve the right to modify the terms and conditions of the festival without any intimation to the participants at any time after the launch of the contest. Entry and participation of films implies unconditional acceptance of these terms and regulations.
Organisers’ decision in all matters pertaining to this festival and screening terms herein shall be final and binding in all respects.
Keeping the spirit of ‘by, for and of children’ alive, we are looking for children (under 18 years) wanting to share their creative talents with the Footprint Festival community. This is the perfect opportunity to showcase your art to eminent artists of India, who will be judging the Poster Making competition, and view the works of others your age.
We are looking for conscious designers who can create a poster that captures all things children and all things cinema.
If you think you have what it takes to create the perfect poster, send in your entry to email@example.com between 1st May 2021 - 15th June 2021.
The winner of the competition will be announced by the 15th of June, 2021 on all our social media platforms.
Prizes to be won:
The top three poster makers will receive an art material hamper. Along with this, the second runner up will receive a book and the first runner up, two books. The winning poster will be featured on all Footprint Film Festival social media platforms in addition to being the Official Festival Poster!
Format and submission specifications:
3. Submission- Your poster needs to necessarily mention the following details:
Subrata Bhowmick is one of India’s leading graphics designers. Based at Ahmedabad, India, he has over the last many years created numerous outstanding and cost saving design solutions that have won him 50 prestigious awards, including 18 President’s National Awards. His much-lauded accomplishments straddle various fields – textiles, photography, environment, graphics, book design, and advertising. In advertising, his work has contributed to building brands such as Cali-Cloth, Vimal, Dhara, Remanika, Deepam, and Handloom House, besides making them cherished and loved across a wide-cross section of people.
Anavi is an interdisciplinary artist and designer who works across mediums with the purpose of human-centered design. She creates visuals, objects, systems, in the hope to better our everyday lives and make them more comfortable and fun. Her work pays special attention to research and communication with the community she is creating for.
Sunando Mukhopadhyay is a banking and finance industry professional and our very own Film Reviewer! Here are some of his reviews of films screened at the Footprint Film Festival.
This film is about a topic that India should be ashamed of, rape. According to the World Population Review, India has the 3rd highest number of sexual assault cases worldwide, exacerbated by the problem that most rapes aren't even reported due to shame and social, political pressure. The treatment of the subject in "A Body Without A Voice" is indeed thought provoking and bears a sensitive portrayal of the victim's sentiments. Her transformation from a young, bubbly, energetic and happy individual to someone who loathes the human touch, even of friendship is heartbreaking. For a first time effort of the maker Harsh Khanna, the film is a complete package, boasting of professional finesse with little amateur characteristics. The best part is the focus and importance given to the histrionics department as it is the victim's execution of the transformation that is meant to hit the nail on the head, and it actually does. If the voice over had mellowed somewhat to signify the psychological stress, fear and unwillingness to carry on with life, instead of the same energetic tone, it could have heightened the tragedy within. Incidentally, the need to raise awareness about subject is something that each one of us has a responsibility for, and act we must!
Knock, created by Ashnah Jacob is simple, yet artistic. A young boy (Rishabh Matthew Jacob) leads a solitary and routine life in lockdown. He wakes up, drinks water, stares out of his window, eats his breakfast and studies. Discipline is at his heart - for every knock on his door, he religiously wears his mask and opens the door. Often, he opens the door due to a knock, but doesn't find anyone out there - perhaps, it's an opportunity knocking? Did he miss it? It happens with him every day at the same time to start with and then at different times as the days progress, but Rishabh doesn't let his guard down. Until one day, when the knocking is vigorous, and yet he cannot see anyone out there, he decides to risk it - he drops his mask at home, and steps out into freedom, or is it what we think? Knock leaves the conclusion wide open to interpretation and there lies its creative subtleties. Did Rishabh step out into an opportunity or a risk is left for viewers to assimilate. The sets are simple, Rishabh is energetic and Ashnah's approach with the silent movie is fresh. A little background music would have made a positive difference to the film which has been made with really lean resources otherwise.
We are born unto a world that thinks that being judgemental is only the done thing. Of course, everyone should have an opinion about everything, but when such opinions begin to harm others or hurt sentiments, control becomes a key necessity. It isn't about censorship or policing, it is actually about being conscious and open-minded. Flaws, with Udamya Mishra at the heart of the film presents the sensitive topic of body shaming and its impact on impressionable lives. The film showcases a young girl with a desire to dress herself up with stylish garments that she finds online and how she is body shamed by her school friends who believe that fashion belongs to the slender bodied and mustn't be tried by those who don't fit the definition. The girl suffers the humiliation in silence and develops a complex about her body as she isn't lissom, and perhaps wallows in depression. Then she confides in another girl who is compassionate towards her and is lean, and is surprised to learn about the latter's insecurities as even she faces criticism for some other reason. Flaws is a subject of gravity and should make us introspective, have we been mean to some people and how must they have felt about it. The film is well thought through by the creator and presented candidly, I believe a little more attention should have been given towards the histrionics of the protagonist whose expressions remained monotonous throughout.
Kabir Kidwai's "We Stand For Peace" is a polished documentary film featuring peaceful protests by students and those who care against the police atrocities, government indifference and curbs on freedom of speech. It adopts a fresh editing prism, using clips, live recordings & digital still photos to showcase the activism and role of students, their philosophy and approach. The cinematography is par excellence and the digital stereo used is impressive. This documentary is all about spreading the awareness of the movement and how the students are locked up in cells, whilst making a brief introduction to the reason for the protest.
Aadya Amritesh's "Masti Makers" is an engaging piece of filmmaking. The theme is simple yet relevant, how to break the monotonous routine of attending and conducting virtual classes during COVID19 lockdown and make learning fun. So one morning, Aadya wakes up and decides to splash some colour to the class, makes herself up and wears trendy clothes when the classes begin. The teacher, Ms. Ganga is obviously miffed at her actions as she finds the idea outrageous and dismisses the class, much to Aadya's chagrin. Yet, her classmates find it a refreshing change to the humdrum digital classes and resolve to follow her suit the next day, expecting disdainful comments from the teacher. The outcome of this initiative by Aadya and her friends is what message Masti Makers leaves us with. The approach, story idea and the creative execution are brilliant. The film is almost at a professional level, with the cast credits, music, sound & picture clarity and a technically superior feel. In the end, it also fulfils the role of cinema being entertaining and giving a social message.
Kabbo Kabir's Trikonomiti is indeed a tragic and heart wrenching tale of a family, presumably in a suburban or even rural part of Bangladesh, that has been shaken up by COVID19. The youngest daughter is actually writing a series of letters to her deceased mother who she misses dearly. In the letter, she bares her heart to say that everything changed since the mother died - the eldest sister Bubu has had to take charge of the household, the father has gone jobless and they no longer get out of home. We eventually learn how slowly, but steadily, the pandemic is affecting the family more and more. There's pathos, unrestrained sadness and despondency in the narrative to enhance the tragedy. The film is shot in black and white, thus giving it a mellowed profile and the use of instrumental Rabindra Sangeet has heightened the effect, multiplying the sadness of the young Opshora Oli. The film is a poignant essay of innocence, inheritance of loss, hopelessness and tragedy that leaves a lasting impression.
Nayantara Sen's creation of Sincerely, Me is a young girl's diary about the void that COVID19 has created in our lives, dashing hopes, aspirations and desires, giving birth to despondency. Nayantara uses verbal commentary as a vehicle to express her situation of being locked down with her parents at home, not having anything worthwhile to do. She admits that she had big plans for 2020, but it all crashed. The voice over contains hopelessness and disappointment, and it's enough to convince us of the aftermath of the pandemic. On a critical ground, I wouldn't call Sincerely, Me a film by the traditional definition, it's more of an audio book, a letter addressed to someone aided by some visuals. Technically, it has the opportunity of a significant improvement with rather use of music, more appealing histrionics, and credits for the cast, etc. In the end, the film appears incomplete, as it inconspicuously terminates.
Rehaan Das' "The Discordant Note" illustrates the impact of lockdown due to the COVID19 pandemic on people's mental health. Ranajit Roy and Rita Roy play senior citizens in their twilight years locked in together, 24 X 7. Rita speaks about her interests of homemaking and how she likes to keep things neat and clean always, perhaps bordering on an obsessive compulsive disorder. She also likes to wear makeup and look pretty. On the other hand, her husband is consumed in his own world of newspapers, computers and some professional pursuit. He couldn't care about her likes and perhaps doesn't consider her sociable. They spend their days on their own, individually, but under the situation, crossing of their paths is inevitable, opening bare the years old discord and disagreement with one another. The film is reminiscent of the genesis of "Belasheshe", that showcased the disharmony Soumitra Chatterjee felt with his wife Swatlekha Sengupta, in which, the former was the outspoken one. In The Discordant Note, the situation is narrated by Rita who seems to be the more expressive one. The issues are trivial, but tolerance is difficult. The film makes its point, as matters could quickly spiral out of hand and land either or both individuals into mental health issues. The film is content rich, essayed in a sombre mood, and both characters lend credibility to the subject. The use of the staccato style of narration with the situations makes it a praiseworthy venture.
Directed by Chirag Garg, and created with Riya Madan, the concept of "The Brain That's Caged" is about the developing mental health issues of a young girl during the COVID19 lockdown. She (voice over by Ishita Namjoshi) admits how with every passing day, she feels her mind is decaying and falling into an irreversible abyss as she cannot go out, remaining locked down at home doing the same things and thinking about her parents. She doesn't find time for herself and no one is asking her about her real problems - she believes no one's interested to know. This certainly is the onset of a depression. The film uses a diary style narration (with a powerful voice over) and interesting animation of a brain that's feeling the decay being caged in. It could well pass off as an audio book, but Riya Madan animation and use of props around the brain hit the bullseye in making the point visually too.