Have you ever encountered this perplexing phenomenon? You hear of a film that has garnered an array of prestigious awards, you watch interviews with the filmmaker featured in newspapers or on television, and then, when you finally view the film yourself, you’re left bewildered, questioning, How could this film have earned such accolades? It hardly seems deserving of them. In fact, it scarcely warrants a second glance. Have you ever had that moment of disillusionment? And in that instant, did you find yourself pondering which organization or film festival bestowed such honors upon it? This is a familiar experience for many, yet a surprising number remain oblivious to the fact that a multitude of film festivals—often lacking rigorous standards—host competitions, select films, and issue awards. The result is a pervasive dilution of quality, where the true merit of films becomes obscured by the proliferation of mediocrity.
The online platform FilmFreeway lists a vast directory of film festivals, including many prestigious ones. Thousands of festivals are featured, but there have been instances where ‘scammers’ have taken advantage of this platform to create fake festivals. They invite filmmakers to submit their films with a submission fee, offer awards, yet never actually watch the films or hold a legitimate festival. This dilutes the quality of filmmaking, and filmmakers who fall for such scams may never develop the skills to create truly exceptional work, even if they receive what can only be described as ‘phantom’ awards.
This is why it’s crucial for the public to be aware of the legitimacy and prestige of various film festivals. The media, in particular, plays a critical role in educating people about which festivals are genuinely worthwhile. When the media highlights awards from subpar festivals, filmmakers—both emerging and established—may be misled into thinking these awards hold real value, simply because they’ve been featured in the news. In Manipur, for example, many media outlets report on local winners at various national and international events. But the real question is: Is the film actually worth watching? And is the festival truly worth competing in?
Creating films is a monumental task that requires immense time, skill, and financial investment. For filmmakers, receiving recognition through awards is a well-earned accomplishment. But for both filmmakers and the public, it’s crucial to understand which festivals truly offer prestige. By becoming more informed about what makes a film festival genuinely worthwhile, filmmakers can better target festivals that align with their creative goals, and work to elevate their craft to meet the standards of respected festivals. To offer some perspective on what defines a “prestigious” festival, Imphal Review of Arts and Politics (IRAP) spoke with two National Award-winning filmmakers from Manipur, who shared their insights on the subject.
National Award-winning filmmaker Romi Meitei shared his insights on the importance of accredited film festivals, drawing a parallel to football: “Just as football has its international governing body, FIFA, for the film industry, we have the International Federation of Film Producers Associations (FIAPF), based in Brussels, Belgium. FIAPF has member associations from countries around the world and accredits the most respected film festivals, such as those in Toronto, Busan, Venice, and Locarno. These festivals, which are widely considered prestigious, have earned their credibility because they are accredited by FIAPF. There are also other festivals, often held in embassies, aimed at fostering international relations. But what I want to emphasize is this: if a film is showcased at a festival accredited by FIAPF, there’s a reason behind it—it means the festival has met certain standards of excellence.”
Romi also highlighted another reputable organization—FIPRESCI, the International Federation of Film Critics. He explained, “FIPRESCI brings together film critics and journalists from around the world, and in each country, there is a local chapter, like FIPRESCI India. While FIPRESCI does not organize its own film festivals, it plays a significant role in recognizing outstanding films at those festivals accredited by FIAPF. The FIPRESCI Prize is awarded at major international festivals, including Cannes, Venice, Berlin, and Toronto. Renowned filmmakers like Akira Kurosawa have received this prestigious award. FIPRESCI is widely regarded as a mark of quality in the film industry.”
The filmmaker went on to mention another influential organization dedicated to Asian cinema. “For the promotion of Asian films specifically, we have NETPAC (Network for the Promotion of Asian Cinema). NETPAC is another important body in the global film landscape that supports and recognizes the distinct contributions of Asian filmmakers.”
Emphasizing the rarity of FIAPF-accredited film festivals in India, Romi elaborated: “FIAPF-accredited film festivals are considered the gold standard of the global film industry. In India, only five festivals are accredited by FIAPF: the International Film Festival of India (IFFI), the Jio Mumbai Academy of the Moving Image (MAMI) Film Festival, the International Film Festival of Kerala (IFFK), the Kolkata International Film Festival (KIFF), and the Bengaluru International Film Festival (BIFF). Securing a film entry in IFFI, for instance, is a significant achievement. While there are many film festivals organized by various entities, the credibility of a festival is determined by its FIAPF accreditation. You might come across films winning awards at other festivals that feel undeserving, but such films would not be seen at FIAPF-accredited festivals, where the standards are much higher. Films showcased at these festivals carry immense reputation and can even be directly submitted for consideration at the Academy Awards.”
When asked about other festivals worth considering beyond the top-tier FIAPF-accredited ones, Romi emphasized their importance without undermining their value. “There are several festivals held across the country and the world, and while they may not have the same prestige as FIAPF-accredited ones, we should not underestimate them. Film festivals are often about networking, exposure, and reaching specific audiences for different genres. In that sense, smaller festivals can still provide valuable opportunities. For example, the Brahmaputra Valley Film Festival (BVFF) in the Northeast is a great platform for networking and exposure. Festivals organized by the Ministry of Information and Broadcasting are also noteworthy. They may not be as large as the international festivals, but they still hold significance. Additionally, Kolkata International Children’s Film Festival (KICFF) is another important festival, especially given the decline in children’s cinema production, which is an area that needs improvement.”
Romi Meitei’s credentials speak for themselves, not only as a National Award-winning filmmaker but also as a jury member for the central panel of the 70th National Film Awards, as well as numerous other respected film festivals. When asked about how filmmakers in Manipur can improve the quality of their films to compete with productions from outside the state, he shared his experiences as a jury member, emphasizing two key aspects.
“First, I believe that honesty is crucial when creating content. If the narrative approach is not honest, the final product will inevitably go astray. It’s vital for filmmakers to do thorough research before making a film; otherwise, the narrative will be full of inconsistencies. I don’t want young filmmakers to stray beyond their own conscious level. Film is a medium we’ve studied from outside, and while the technology is essentially the same globally, we must use our conscious minds to tell our stories in an honest, relatable way.”
Romi’s second point focused on technical standards: “Second, we need to ensure that basic technology is employed properly. The visual and sound quality should meet international standards, especially when submitting to reputed film festivals. It’s crucial to focus on technical details, such as using synchronous sound instead of dubbing. I’m not saying that dubbing should be eliminated entirely, but filmmakers must aim to meet the technical level required for competing at high-caliber festivals. This includes maintaining high production standards for both visuals and sound, which are essential for films to be taken seriously on the global stage.”
Another National Award-winning filmmaker, Borun Thokchom, who has also served as a jury member at both the National Film Awards and the International Film Festival of India, echoed similar sentiments to Romi Meitei regarding the importance of understanding the credibility of film festivals. He shared his perspective: “It’s encouraging to hear when a film participates in a festival and wins awards, regardless of whether the festival is well recognized or not, because it shows that filmmakers are making efforts. But the public needs to be more discerning about the kind of festivals these films are being showcased in. Journalists, too, should be aware of the different levels of film festivals. In sports, for example, the Olympics are considered the pinnacle of competition. Then we have the Asian Championships, national events, and many others at various levels. The public is aware of these distinctions, and similarly, we need to educate them about the different levels of film festivals.
Take FilmFreeway, for instance—there are thousands of festivals listed, and many are highly commercialized. Some festival organizers simply charge submission fees and invite filmmakers to attend, asking them to bear their own expenses. While filmmakers may feel happy to have participated, it’s important to question why they should pay to attend a festival after spending so much on producing a film. The public must understand these distinctions in the level of competition. Festivals accredited by FIAPF, such as IFFI, MIFF, National Film Awards, KIFF, and others, should be recognized for their credibility and prestige.”
Borun continued: “Film, being a highly subjective art form, doesn’t always fit neatly into categories of ‘good’ or ‘bad.’ Just because a film doesn’t make it into IFFI or other prestigious festivals, or doesn’t win a National Film Award, it should not be undermined. Filmmakers should not be disheartened by this. When I serve as a jury member, my personal preferences may differ from those of other jurors, and this variability in opinions is part of the process. That said, it’s essential to understand the distinction between high-profile festivals and those that are less significant. What’s the point of winning in a hugely commercial festival that has little credibility? Yes, it’s something, but it should not be confused with recognition at a truly prestigious event.
The media plays a crucial role in shaping the public’s perception. Journalists must understand the nature of the festivals they cover and provide coverage accordingly. The importance and credibility of a festival must be reflected in how it is reported. Recognitions from prestigious festivals like IFFI or the National Film Awards should be given more weight in media coverage than those from lesser-known or commercially driven festivals. This way, the media can help the public understand the true level of competition, giving proper context to the achievements of filmmakers.”
When asked about his experience at IFFI and the National Film Awards, Borun Thokchom emphasized the critical role of content in both nonfiction and fiction films. He explained: “For a documentary, the content needs to be exceptionally strong. Even if you’re using an inexpensive camera or a smartphone, if the content resonates, the jury will take notice. I saw this firsthand as a jury member at the 69th National Film Awards in 2023. For IFFI, I served as a jury member for international fiction films, which is a different ball game. In fiction films, both form and content are crucial, but filmmakers must also ensure the quality of the production. Since fiction films are created in a controlled, staged environment, filmmakers must use high-end cameras, and sound quality is particularly important.
Documentaries, on the other hand, sometimes have more flexibility. Due to the nature of the medium, you can’t always shoot with large, expensive equipment while capturing real-life events, and that’s where documentaries can afford some relaxation. However, when it comes to fiction films, filmmakers have more control over the production, so they must ensure high technical standards across the board. That said, regardless of the genre, it’s always recommended to use quality cameras. For fiction filmmakers, especially those aiming to compete in reputed film festivals like IFFI, high-end cameras and excellent sound quality are essential.”
To truly elevate the cinematic landscape, filmmakers must possess a deep awareness of the nature and prestige of the film festivals to which they submit their work. It is imperative that they understand the distinction between reputable, competitive festivals and those that are merely commercially driven. Likewise, the public must cultivate an informed appreciation of the festivals that bestow accolades, recognizing the varying levels of prestige associated with different events. The media, too, holds a pivotal role in bridging this knowledge gap, ensuring that the value of a film’s recognition is contextualized by the festival’s standing.
Manipur has long been a fertile ground for filmmaking, yet only a handful of its creations have transcended local boundaries to reach global acclaim at prestigious film festivals. To see more films from Manipur garner genuine recognition and acclaim on both national and international stages, it is essential that filmmakers, journalists, and the public alike understand the calibre of competition. Only through this awareness can we inspire filmmakers to craft works that truly merit participation in distinguished festivals. Without this collective understanding, we risk a future where films garner awards from subpar, commercial festivals, diluting the true essence of cinematic excellence.
The writer is a media scholar and professional
