Copyright dailypioneer
Come November, all roads lead back to Goa. There is something quietly magical about this time of year, when the salty breeze feels like it’s carrying unfinished scripts and half-formed characters, when the sunsets look like they were painted for the big screen, and the whole atmosphere buzzes with a kind of electric, creative promise. The International Film Festival of India (IFFI) is returning for its 56th edition, and honestly, it feels like more than just a festival; it feels like coming home. Home to stories, to cinema, to the kind of shared emotion that only a dark room full of strangers watching the same frame can give you. Since its first steps back in 1952, IFFI has grown alongside Indian cinema, through grainy black-and-white reels, the golden age of Bollywood, the rise of parallel cinema, and now the bold, digital-first era of global streaming. But despite everything that has changed, the heart of it has stayed exactly the same: that undeniable, collective love for a good story. This year, IFFI doesn’t arrive alone. It carries with it the momentum of something larger, something more deliberate. Earlier this year, India did something bold: we hosted the first-ever Worldwide Audio-Visual Entertainment Summit, or WAVES. And it wasn’t just another policy meet or industry talk-fest. It felt like a real shift, a moment where India stopped being just a land of films and became a force in the global entertainment conversation. WAVES wasn’t about showing off what we already have; it was about stepping into what we could become. And now, as IFFI rolls in, it feels like the next chapter in that same story. This festival is no longer just a place to watch great cinema. It has become a mirror of the future we are building, one where Indian creators are not just part of the conversation; they are helping lead it. Where our stories, our talent, our imagination become the bridges we build to the rest of the world. And that global reach is more visible this year than ever before. With over 240 films from 81 countries, including 13 world premieres, 5 international premieres, and 44 Asian premieres, IFFI 2025 is shaping up to be one of the most ambitious editions yet. A record-breaking 2,314 film submissions from 127 countries speak volumes about IFFI’s rising status on the international stage. Among the highlights are over 80 award-winning festival titles, 21 official Oscar-nominated films, and a bold, curated selection of 133 international titles that have already made waves across the festival circuit. For cinephiles and industry insiders alike, IFFI is not just a destination; it’s a discovery engine. But perhaps the most anticipated spotlight of all this year is on Japan, the official Country of Focus. This curated section is a masterstroke in cross-cultural storytelling. Across six carefully chosen films, the spotlight on Japan will explore everything from intimate dramas and psychological thrillers to queer cinema, youth sci-fi, and lyrical non-linear experiments. It’s a rare window into the emotional, philosophical, and visual vocabulary of contemporary Japanese filmmakers, a celebration of both rising voices and legendary auteurs. And it’s not just about what is on screen. IFFI will host institutional collaborations, cultural showcases, and programming that deepens India-Japan creative ties, exactly the kind of soft-power diplomacy WAVES envisioned. There is a beautiful kind of synergy between IFFI and WAVES. What WAVES laid out as an agenda, IFFI is now set to bring to life. WAVES spoke of harnessing entertainment as a tool of influence, of investing in creators, of using technology not as a gimmick but as an enabler. These are not abstract ideas. They are being felt here in Goa, in the new AI-powered storytelling labs, in curated sections like “Experimental Films,” “Macabre Dreams,” and “Docu-Montage,” in segments like “UNICEF” and “Mission LIFE” that bring together cinema and sustainability, and in the presence of countries like Spain and Australia through partner country and spotlight packages. IFFI is beginning to look less like a week-long celebration and more like the cultural nerve centre of India’s creative rise. It’s also a year of honouring the legends who helped shape this journey. As part of its centenary tributes, IFFI 2025 will celebrate towering figures like Guru Dutt, Ritwik Ghatak, Raj Khosla, P Bhanumathi, Bhupen Hazarika, and Salil Chowdhury, restoring and screening iconic works such as Musafir and Subarnarekha for new generations to discover. And in what promises to be an emotional, unforgettable moment, Superstar Rajinikanth will be felicitated at the closing ceremony for completing 50 glorious years in cinema. His presence alone is a testament to the lasting legacy of Indian stardom, and how much cinema means to this country. But what is most fascinating is how human all of this still feels. Even in the age of AI, OTT, and algorithmic distribution, at its core, IFFI remains about emotion. About what happens when you sit in a dark room with strangers and feel something together. It’s about the goosebumps during a standing ovation. The quiet tears. The laughter that erupts unexpectedly. The way a single frame can remind you of who you are, or who you used to be. That’s what soft power really is. It’s not about dominance. It’s about resonance. And that’s what India has: stories that resonate. Stories that stick. Stories that belong to all of us. This year’s IFFI will also be a showcase of what the future could look like if we let ourselves dream a little bolder. It’s unapologetically future-facing. With entire sections devoted to AI in cinema, virtual production, ethical tech conversations, and platforms for young creators to shine, it’s clear we aren’t stuck in nostalgia. We aren’t afraid of change. We are building with it. And the renewed focus on OTT reminds us that stories don’t need to stay inside the theatre to matter. They can travel across time zones and formats. Because when the story is good, it doesn’t need a passport. And yet, none of this progress feels like a departure. It feels like an expansion. Like we are holding on to the things we love, while reaching out for what could be. That’s the spirit of Atma Nirbharta, isn’t it? Not just being self-reliant, but being self-defined. Owning our stories. Creating our own systems. Trusting our voice. Looking ahead, IFFI has the potential to become more than a moment. It can be a year-round movement. A living ecosystem that nurtures creators, restores classics, trains future professionals, and positions India not just as a cultural superpower, but as a creative sanctuary. Maybe that means setting up a permanent AI storytelling lab. Maybe it means forging festival partnerships across the Global South. Maybe it means carving more space for women filmmakers, bold debuts, and films that dare to say something new. Whatever it is, one thing is clear: we are ready. So yes, come November, the world will arrive in Goa once again. But this time, we hope they leave with more than just sun-kissed memories. We hope they leave knowing that India is not just the land of a thousand stories. We are the land of a thousand possibilities. And this year, at IFFI, we are ready to show the world exactly what that means. The writer is a Former Civil Servant who writes on Cinema and Strategic Communication. Inputs were provided by Zoya Ahmad and Vaishnavie Srinivasa; views are personal
