BackNina Lath Gupta: Why the Film Bazaar works
The woman behind NFDC's Film Bazaar, India's only film trade market, on what makes it work and what makes a script saleable
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On 20 November, the curtains will rise on the eighth edition of Film Bazaar, the National Film Development Corporation’s (NFDC) trade market for the film industry. Growing steadily since its difficult inception, from 20 entries in some of the sections in the early years to over a hundred in the popular Co-Production Market and Screenwriters’ Lab this year, the annual event has become an incubator for internationally feted projects. Held alongside the International Film Festival of India (Iffi) in Goa, the four-day networking and development platform has fostered films acclaimed in festivals the world over, such as The Good Road, Titli, Ship of Theseus, The Lunchbox, Killa, Court and this year’s Indian entry for the Oscars, Liar’s Dice. In an interview, NFDC managing director Nina Lath Gupta, who started the Bazaar and gave it shape, evaluates its seven years of existence. Edited excerpts:
Looking back, how would you assess the Film Bazaar?
It’s been a very interesting journey and a revolutionary process for us. Film Bazaar was conceptualized as a development market for new projects, content, finance mechanisms and to create new markets. Looking back, it has been a great learning process. Every year we assessed where the gaps were, and along with a lot of engagement with the industry, both in India and abroad, we enhanced our programmes and labs. Film Bazaar was my vision and I am very proud of it. I think, one can say that it has been a game-changer.
What are some of the key additions?
When we set up in 2007, we only had the Co-Production Market and the Screenwriters’ Lab. Looking back, the Co-Production Market was very amateur. I am quite embarrassed!
It took a lot of effort to convince people to participate in the Screenwriters’ Lab. The idea for this lab was born from the fact that I felt there was a big gap in the industry where writers and scripts were not considered marketable. The Lunchbox was one project that was an instant success at the lab. Titli was also picked up from there. But these projects have taken years to build. I also heard comments from international programmers about edits, the use of background music or lack of sync sound which got me thinking about a Co-Production Market and Work In Progress Lab. If you are looking at a film finding international acceptability, then why not get feedback from international mentors?
We also added the Viewing Room and Film Bazaar Recommends—a curated gallery of unseen Indian films. Last year we added the producers’ network and this year we have introduced the Romance Screenwriters’ Lab.
Why a separate lab for romance?
We make so many romances in India, so I wondered why we are not working enough on developing content for romance. I also think that somewhere it was my nod to Harlequin, which we read so much in school! The India head of Harlequin told me she was looking for writers, so I thought why not this lab. Invariably scriptwriters emanate from the writing fraternity. Here we are looking at backward integration with scriptwriters who might also write a book.
What tips would you give someone who wants to get the formula right for an Indian film with global appeal?
I have maintained this for 15 years—from my experience as a bureaucrat at the ministry of information and broadcasting and now at NFDC—there is inadequate focus on development in our industry. The more you work on development and fine-tune a project—right from research to set design, costumes and overall attention to detail—the better it is. Every sector across the world recognizes the importance of development. This does not take away from your basic aesthetic or creative ability but there’s a discipline involved.
I saw that in the early years film-makers would submit first and second drafts. The concept of rewriting and even a 20th draft was unheard of. But I see that change now, along with a realization that partnerships help.
Film is a collaborative medium. Every film-maker wishes to show his/her film to the maximum number of people. Sales agents and buyers have often told me that contemporary India is a fascinating blend of tradition and modernity and this is what they want to see captured in film. This is why The Lunchbox, Court, Titli and Miss Lovely are such successes.
Are you satisfied with the strike rate of projects presented at Film Bazaar that get off the ground?
A co-producer, buyer or sales agent wants to be involved from the very beginning in order to enhance distribution, sales and investment prospects. It’s idealistic to say this is my film—take it or leave it.
Today there is a problem of plenty and in that arena curating becomes a very important part for any sales agent, buyer or programmer. The films that got awarded at the Mumbai Film Festival this year are all out of Film Bazaar—Court, Chauranga and Killa. BA Pass, Ship Of Theseus, Mumbaicha Raja, Children Of The Pyre, Liar’s Dice, The Good Road, Television (Bangladesh) have all been a part of the sections.
Is the NFDC also continuing to produce films and expand in exhibition?
NFDC’s mandate was not to produce films. It was set up to facilitate the growth of the industry. It’s a very broad-based agenda. The articles of association do not mention film production. They talk about building theatres and promoting Indian cinema in India and abroad.
Yet, in the last 30 years, NFDC is only known for producing films. Opening theatres across India is on the agenda. I believe the two areas that need attention are developing distribution avenues and carrying out audience development.
Click here for the details of this year’s Film Bazaar.
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