For most Indians, the minute we think of the Cannes Film Festival (at least in the recent past), enormous couture outfits, and Bollywood's most glamorous female actors sashaying the red carpet at French Riviera, come flashing to our minds. But 2024 was rather different. Sure, the veteran Aishwarya Rai Bachchan made heads turn, and so did the debutant Kiara Advani, Aditi Rao Hydari, Preity Zinta, who returned to Cannes after 17 years, and Jacqueliene Fernandez, among others. But it was women filmmakers, storytellers and actresses who were at the helm as South Asian cinema made a big splash at the 77th edition of Cannes. So, when Payal Kapadia ended a 30-year dry spell at Cannes with her film, All We Imagine As Light, becoming the only Indian entry to compete for the Palme d’Or and earning an 8-minute standing ovation, its cast did a victory lap by dancing on the red carpet. India is proud of Payal Kapadia for her historic feat of winning the Grand Prix at the 77th Cannes Film Festival for her work ‘All We Imagine as Light’. An alumnus of FTII, her remarkable talent continues to shine on the global stage, giving a glimpse of the rich creativity in… pic.twitter.com/aMJbsbmNoE — Narendra Modi (@narendramodi) May 26, 2024 The Indian contingent at Cannes wasn't limited to the front of the camera. News also emerged of several female Indian filmmakers, producers, and distributors making their mark at the festival. Their dedication and hard work are instrumental in propelling Indian cinema forward on the international stage. Scripting history Payal Kapadia was at the centre of this success story as her feature film debut, All We Imagine As Light became the first Indian entry in the festival's main competition in three decades. But Kapadia didn't stop there. Her film went on to win the prestigious Grand Prix award, the second-highest honour at Cannes. This victory marked a watershed moment for Indian cinema, with Kapadia becoming the first Indian director, and the first woman, to achieve this feat. ALSO READ Payal Kapadia’s Grand Prix at Cannes: ‘Weird’, wonderful and historic Payal's debut, A Night of Knowing Nothing, blurred the lines between documentary and fiction. All We Imagine as Light, featuring a women-led cast — Kani Kusruti, Chhaya Kadam and Divya Prabha — initially follows suit. Opening scenes of the film depict curious glances at the camera as characters clear debris, set up market stalls, and wait for crowded trains. Voiceovers murmur about the allure of Mumbai, The City of Dreams. But the film quickly transforms, blossoming into an intimate character study. We meet three powerful women, all colleagues at a local hospital. Kapadia avoids sentimentality, yet imbues each woman with such depth and warmth that audiences can't help but be drawn to them. What makes her win special is that the Competition jury was chaired by Barbie director Greta Gerwig. Inclusivity at its best The industry saw a significant rise in the number of Indian women-centric films that were being made and recognised. From the bold and innovative storytelling of female directors to the powerful and diverse performances of female actors, Indian cinema was indeed shining. #WATCH | Actress Anasuya Sengupta says "It feels great. I just want to go back to the family and take a rest for 2 days. I will be back after that. I want to thank everyone." pic.twitter.com/CFdSv0tyEn — ANI (@ANI) May 26, 2024 It was the year when India’s female filmmakers and actors made a statement on the world stage and proved that their artistry was no longer being overlooked. Kolkata's Anasuya Sengupta became the first Indian actor to win an acting award at Cannes. She won the Best Actress award for her performance in The Shameless, a film about a sex worker's fight for freedom, in the Un Certain Regard category. She dedicated the award to the queer community and called for more "female gaze" in filmmaking. "This is for the queer community everywhere, and all other marginalised communities all over the world, for bravely fighting a fight they shouldn't have to fight. More female gaze is the way forward, and the browner, the better," she added. The Shameless has been helmed by Bulgarian director Konstantin Bojanov. ALSO READ All We Imagine as Light director Payal Kapadia heaps praise on Malayalam film industry at Cannes 2024: ‘Even arthouse movies get distribution in Kerala’ A political statement wrapped in fashion View this post on Instagram A post shared by Luxbox (@luxboxfilms) Beyond the glitz and glam of Cannes 2024, Indian actresses delivered powerful punches. Anasuya Sengupta's historic Best Actress win wasn't just about her, it was a rallying cry. Fresh off her success in All We Imagine As Light, Kani Kusruti wasn't shy either. Her watermelon clutch, a vibrant echo of the Palestinian flag, became an instant symbol of solidarity. The internet roared with approval for these subtle yet impactful statements. From groundbreaking awards to fashion with a cause, Indian actresses at Cannes proved cinema can be a potent platform for social commentary wrapped in artistic brilliance. Feminist themes and portrayal of women All We Imagine As Light paints a poignant portrait of three women who selflessly dedicate their lives to caring for others. Yet, their own dreams and desires remain largely unfulfilled. The film subtly weaves in feminist themes from the get-go. We see glimpses in the humorous opening scenes: an elderly patient troubled by a mischievous ghost (her deceased husband!) and a young nurse discreetly providing birth control to an overwhelmed mother of three. Kapadia avoids heavy-handed messages. Instead, she crafts a bittersweet narrative about three friends yearning for a life where they can simply be. While the film meticulously portrays the realities of womanhood in modern Mumbai, this Indian-French collaboration transcends borders. Its universality and emotional depth resonate with anyone who's ever felt the loneliness of a big city or been captivated by a story that captures that experience. A story of two queer women in love, an unconventional portrayal of Indian women, The Shameless weaves a story through fragmented narratives. It challenges the idea of predetermined fates for women, particularly those forced into sex work. The film is layered with political themes and delivers powerful performances. The international co-production, Santosh, showcased in the Un Certain Regard section of the festival, is a captivating crime drama featuring Shahana Goswami and Sunita Rajwar. The film, helmed by British-Indian director Sandhya Suri, revolves around Santosh (Goswami), a 28-year-old woman who unexpectedly gets her husband's job as a police constable in the remote north Indian countryside after he died in a riot. The story takes a turn when a young woman from a lower caste is murdered, and Santosh finds herself drawn into the investigation led by the strong and feminist Inspector Sharma (Rajwar). Following the film's world premiere at Cannes on May 20th, director and documentarian Sandhya Suri spoke to The National about the creation of her impactful feature film debut and its exploration of pressing social issues. Suri explained her initial project idea, "I was in India working with NGOs, determined to find one focused on violence against women. It's a critical issue in India and something that's deeply affected many aspects of my life there." Another British-Indian director, Karan Kandhari, made a splashy debut at Cannes. His film, Sister Midnight, a darkly comedic rollercoaster, premiered at the Director's Fortnight segment. The movie stars Radhika Apte as the newly-wed Uma, arriving at her cramped Mumbai apartment. Uma, adorned with traditional bangles, is brimming with anticipation for her new life. However, her husband, played convincingly by Ashok Patak, seems equally apprehensive about their marital journey. Beyond glamorous gowns and elaborate fashion Chhaya Kadam's vibrant saree stole the show in one of her early appearances. This fusion of tradition and modernity boasted intricate embroidery on a fabric that cascaded around her. But it was the Maharashtrian Nath, a jewel steeped in cultural pride, that truly elevated her look. Worn with elegance and confidence, the Nath, a symbol of beauty in her heritage, became the finishing touch on her stunning ensemble. View this post on Instagram A post shared by Chhaya Kadam (@chhaya.kadam.75) In a conversation with Brut, Chhaya, known for playing Manju Maai in Laapataa Ladies, revealed that she wore her late mother's saree to the film festival. "Two days before I left for Cannes, I saw the saree and said 'I couldn't take you with me but I will wear your saree in Cannes," she said. Her rustic look was far removed from the glamorous looks that Bollywood actors are known to showcase on the Cannes red carpet. While we discuss the portrayal of women in Hindi cinema even as Bollywood's leading ladies fight for equal pay, the 2024 Cannes Film Festival will undoubtedly be remembered as a turning point for Indian women in cinema. Payal Kapadia's historic win has paved the way for future generations of female filmmakers, while the strong presence of actresses and industry professionals further strengthens India's position in the global film landscape.
