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INDIAN ENTERTAINMENT BIZ GUIDE FEBRUARY 2016 www.picklemag.com India at EFM Berlin 16 Indian Films to Watch Out For in 2016

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We are delighted to present the latest issue of Pickle on the occasion of Berlinale and European Film Market 2016. Two Indian films will be screened in the 66th Berlin International Film Festival and it is a good beginning for India. This year’s Berlin Film Festival will see India being represented by two Generation films – Nagraj Manjule’s Sairat (Wild) in 14plus and Jayaraj’s Ottaal (The Trap) in Kplus. Also do not miss the 16 Indian films to watch out for in 2016

TRANSCRIPT

Page 1: Pickle Berlinale 2016 Issue

IND IAN ENTERTA INMENT B IZ GU IDE

FEBRUARY 2016

www.picklemag.com

India at EFM Berlin

16 Indian Films to Watch Out

For in 2016

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Page 3: Pickle Berlinale 2016 Issue

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Page 4: Pickle Berlinale 2016 Issue

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Page 9: Pickle Berlinale 2016 Issue

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Page 10: Pickle Berlinale 2016 Issue

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A WIDE OPEN FIELD

66TH BERLINALE COMPETITION

Films competing for honour at Berlinale will zero in on

the social and inter-personal contradictions underlining

human stories that go beyond the particular and

embrace the universal. By Saibal Chatterjee

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The world as we know it, with its confl icts and scars, will be in full view in two

top-draw documentaries compet-ing for the Golden Bear at the 66th Berlinale: Gianfranco Rosi’s Fire at Sea and Alex Gibney’s Zero Days.These two fi lms, in turn, will probably set the tone for the rest of Competition lineup. As always, most of these contenders – 18 in all – will zero in on the social and inter-personal contradictions underlining human stories that go beyond the particular and em-brace the universal.Fire at Sea is a timely migrant cri-sis-themed fi lm that explores the vicissitudes of life on the island of Lempedusa, which has been the landing place for migrants from Africa and the Middle East for two decades.Rosi spent many months on the island located 200 km off Italy’s southern coast to understand the challenges that the 6000-strong community here faces amid its regular brushes with tragedy.Many asylum-seekers, who set out in dangerous circumstances for this island in the hope of a bet-ter life in Europe virtually every month, end up dead on its shores.The Italian-American fi lmmak-er’s previous documentary ‘Sacra GRA’, which charted the lives of people along a long ring road that runs around the city of Rome, won the Golden Lion at the Ven-ice Film Festival in 2013.Oscar-winning documentar-ian Gibney’s Zero Days turns the spotlight on victims of cyber-crime and internet surveillance.The fi lm that investigates the Stuxnet virus attack on Iran’s nuclear program by the US and Israel is a cautionary tale about the dangers inherent in the un-

24 Weeks

Zero Days

Cross Current

Fire at Sea

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Page 12: Pickle Berlinale 2016 Issue

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bridled exercise of technological and geo-political power.Fire at Sea and Zero Days would be the two contenders that the 16 other fi lms in Com-petition will have to keep at bay as a jury headed by Hollywood star Meryl Streep assesses all of them before announcing the winners.The composition of the seven-member main Competition jury is interesting in that it is dominated by actors. On it are Germany’s Lars Eidinger, Britain’s Clive Owen and Italy’s Alba Rohrwacher.The only fi lmmaker in the jury this year is Poland’s Malgorzata Szumowska, whose last fi lm Body won the Silver Bear for Best Director at the 65th Berlin Film Festival.In the Competition lineup of the 66th Ber-linale are two fi rst features. One of them has been made by British theatre veteran Michael Grandage. His fi lm, Genius, cel-ebrates the life and work of iconic New York literary editor Max Perkins, who worked with the likes of Ernest Hem-ingway, F Scott Fitzgerald and Thomas Wolfe.Genius, based on a book by A Scott Berg, has Colin Firth in the pivotal role in a cast that includes Jude Law, Nicole Kidman and Guy Pearce.The other debut feature in the running for the festival’s top prize is Tunisian direc-tor Mohamed Ben Attia’s Inhebbek Hedi.It tells the story of a diffi dent young man who discovers his will to assert himself when he falls in love with a woman work-ing in a Tunis resort.The Berlin Competition has a host of oth-er titles with the potential to emerge as frontrunners for the Golden Bear.Watch out for Danish director Thomas Vinterberg’s The Commune, his follow-up to the much applauded The Hunt, and Danis Tanovic’s Bosnian drama Death in Sarajevo, set in a hotel that is prepar-ing to welcome a delegation of important diplomats on the centenary of the assassi-nation that is considered to have sparked World War 1.Filipino maverick Lav Diaz competes with the eight-hour-long A Lullaby to the Sor-rowful Mystery, which, like many of his fi lms, delves into the history and present political realities of his country through loosely connected stories.Septuagenarian French director Andre Techine’s Being 17 homes in on two bick-ering grammar schoolmates, a boy and a girl, who can barely stand each other. Their lives take a turn when, on the invi-tation of the girl’s mother, the two have to live under the same roof.A second Gallic fi lm in the Berlin Compe-tition is Mia Hansen-Love’s fi fth feature Things to Come, starring Isabelle Hup-pert as a philosophy teacher in a Parisian grammar school who is forced to take stock of her life as unexpected changes

sweep over it.Other European fi lms in the 2016 Competi-tion are Anne Zohra’s Berached’s 24 Weeks (Germany), Iranian-born British director Rafi Pitts’ Soy Nero (Germany/France/ Mexico), Swiss actor-director Vincent Perez’s Alone in Berlin (Germany), Ivo M Ferreira’s Letters from War (Portugal) and Tomasz Wasilewski’s United States of Love (Poland).A brace of fi lms from Asia, Yang Chao’s Crosscurrent (China) and Mani Haghighi’s A Dragan Arrives! (Iran), could prove to be the dark horses.The solitary American fi lm in this mix is Jeff Nichols’ fi rst-ever studio production Midnight Special, a sci-fi action thriller starring Adam Driver, Michael Shannon, Kirsten Dunst and Joel Edgerton.North America is also represented in the Competition by Quebecois director Denis Cote’s Boris Without Beatrice, a relation-ship drama about a successful man grap-ples with his inner demons as his equally successful wife is down with depression.While media attention is bound to be trained on the Competition, the big bangs could also be delivered by the fi ve titles that will play out of competition.Lee Tamahori’s Mahana (The Patriarch), the veteran fi lmmaker’s fi rst Kiwi fi lm in two decades, will keenly be watched.Set in 1960s rural New Zealand, it focuses on two sheep-shearing families battling each other for supremacy as much in the shearing sheds as in their vexed personal lives.The Patriarch reunites the team that cre-ated that unforgettable Kiwi classic, Once Were Warriors (1994) – actor Temuera Morrison, producer Robin Scholes and di-rector Tamahori, who among other things helmed the 20th James Bond fi lm, Die An-

Genius

Inhebbek Hedi

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Page 13: Pickle Berlinale 2016 Issue

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other Day.The Coen brothers’ Hail, Caesar, like their early 1990s comedy-drama Barton Fink, journeys back to Hollywood’s golden era – the 1950s – to tell a breezy tale about the making of a fi lm within a fi lm. This is one fi lm that few in Berlin this year would want to miss.Pretty much the same would be true of two other out-of-competition entries, German director Dominik Moll’s News from Planet Mars and Spike Lee’s already buzzed-about Chi-Raq.What about the other Berlinale sections this year? For this critic, the Panorama selection looks just as packed with riches as the complement of Competition fi lms.

In here is the latest fi lm by Germany’s Doris Dorrie’s Fukushima, Mon Amour, about a young German who woman and her unlikely bonding with the last geisha in catastrophe-struck Fukushima.Also in Panorama are Rachid Bouchareb’s Road to Istanbul, a fi lm about a Belgian mother who sets out across the Turkish border to look for her 20-year-old daughter who leaves to join the Islamic State terror-ists.At the other end of the spectrum is Bra-zilian fi lmmaker Anna Muylaert’s Don’t Call Me Son, an intense exploration of a mother-son relationship that seems des-tined to achieve the high of the director’s previous fi lm, The Second Mother.

Lullaby

The Commune

Saibal Chatterjee is an independent New Delhi-based fi lm critic and writer who has worked on the staff of several leading publications, served on the editorial board of Encyclopaedia Britannica’s volume on Hindi cinema and authored a biography of poet-fi lmmaker Gulzar.

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Page 14: Pickle Berlinale 2016 Issue

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Two Indian fi lms have made the Berlinale Generation cut this year. This brace comes on the heels of three other fi lms from the country that have been showcased and ap-

plauded in the section in the recent past.So, can the world’s most prolifi c fi lm-producing nation now be regarded as a regular fi xture in the Berlin Film Festival’s Gen-eration program?In 2007, at the 57th Berlinale, Rajnesh Domalpalli’s independent Telugu-language fi lm Vanaja, which was screened in the Gen-eration section, went on to win the festival’s ‘best fi rst feature award’.The fi lm told the story of a 14-year-old daughter of a low-caste fi sherman who works at the home of a landlady who also deigns to train her in classical Kuchipudi dance.However, the girl’s vulnerability, caused as much by her weak social status as her gender, inevitably comes in the way of her aspirations.After a longish lull, India was back to winning ways at the Ber-linale in 2012, when Rajan Khosa’s Gattu earned a Special Men-tion from the international jury of the Generation Kplus section at the 62nd Berlinale.Since then two other Indian fi lms have fi gured among the award-winners in the category.In 2014, at the 64th Berlinale, Avinash Arun’s wonderfully crafted Marathi-language fi lm Killa bagged the Generation Kplus Crys-tal Bear, besides garnering a Special Mention from the section’s international jury.In the same category last year, Nagesh Kukunoor’s Dhanak (Rainbow) registered a double whammy, wresting the Grand Prix awarded by the international jury as well as a Special Men-tion from the children’s jury.This year’s Berlin Film Festival will see India being represent-ed by two Generation fi lms – Nagraj Manjule’s Sairat (Wild) in 14plus and Jayaraj’s Ottaal (The Trap) in Kplus. Both contenders have a strong chance of pulling off a win or two.Sairat is Marathi poet and fi lmmaker Manjule’s second feature. The director’s fi rst fi lm, the much-applauded Fandry, was a fi ery cinematic tract that pulled no punches in exposing the ugliness of caste discrimination in India.In Sairat, the fi lmmaker yet again focuses on class and caste dy-namics through the story of bright young village boy’s relation-ship with a girl who belongs to a higher strata of society.

INDIAN CINEMA IN BERLINALE GENERATION

CHILD’S PLAY PAYS OFF

This year’s Berlin Film Festival will see India being represented by two Generation fi lms –

Nagraj Manjule’s Sairat (Wild) in 14plus and Jayaraj’s Ottaal (The Trap) in Kplus. Both

contenders have a strong chance of pulling off a win or two

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Page 15: Pickle Berlinale 2016 Issue

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OTTAAL (THE TRAP)

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Page 16: Pickle Berlinale 2016 Issue

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The 66th Berlinale catalogue says: “Be-yond the glamour of Bollywood, Sairat is an epic love story that takes a critical look at Indian society in the 21st century.”Running twice – or more – the length of most of the other fi lms in the Berli-nale Generation 14plus section this year, Sairat is a revisionist tale that seeks to turn popular Mumbai cinema’s romance genre on its head by placing at its centre a lower-caste hero.Ottaal (The Trap), which is in the Genera-tion Kplus category aimed at audiences aged four and above, is a children’s fi lm that goes well beyond the confi nes of the genre and addresses environmental and

socio-economic issues.It is a haunting exploration of the real dangers that children face in a world that is too insensitive to understand their lit-tle aspirations.An adaptation of Anton Chekhov’s 19th century short story Vanka, Ottaal is set in the watery landscape of Kuttanad in Kerala, southern India.It celebrates the tender bond that an eight-year-old orphan has with his grandfather – and nature.The young protagonist works on a duck farm and revels in the innocence and free-dom of childhood. With gentle but telling strokes, the fi lm probes the brittleness of

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Page 17: Pickle Berlinale 2016 Issue

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the boy’s dreams.Ottaal is Jayaraj’s second fi lm to make it to the Berlin Film Festival. Fifteen years ago, his Karunam was screened in the Berlinale Forum.The fact that both Sairat and Ottaal are in Berlin’s Generation category, as has al-ready been stressed, marks an extension of a glorious run that Indian fi lms have had in this section.Two other Indian cinematic essays – Avi-nash Arun’s Killa (Marathi, 2014) and Nagesh Kukunoor’s Dhanak (Hindi, 2015) – have since been awarded at what is among Europe’s top three fi lms festivals along with the ones hosted annually in

Cannes and Venice.The success of the fi lms like Killa and Dhanak in Berlin is rather ironic because the mass audience in India is not known to patronize cinematic tales meant for younger audiences.Not that children’s fi lms aren’t made in this vast country of a billion-plus people, but a large percentage of these remain unreleased unless they can enlist the sup-port of the mainstream Mumbai industry in the manner of Chillar Party and Stan-ley Ka Dabba.While Gattu, which was funded by the Children’s Film Society India when ac-tress and fi lmmaker Nandita Das was at

SAIRAT (WILD)

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Page 18: Pickle Berlinale 2016 Issue

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the helm of the organisation, and Killa have managed to get a limited commercial release, Dhanak, bankrolled by Manish Mundra’s Drishyam Films, is still await-ing distribution in the domestic market despite winning two Berlinale awards.The international jury applauded the depth of humanity in Dhanak, the story of a visually impaired boy and his slight-ly older who set out across the desert in Rajasthan in order to meet Bollywood su-perstar Shahrukh Khan who they believe can restore the former’s eyesight.Its citation read: “This dynamically-di-rected fi lm delivers joy and heartbreak in equal measure… Filled with colour, magic, music, spontaneity and plenty of emotion, this fi lm lives up to its name and delivers a celebration of life to savour long after the end credits roll.”Gattu and Killa, too, picked up equally glowing notices, projecting India as a land that has much to offer to an involved explorer.The international jury that bestowed a Special Mention on Gattu, the tale of an unlettered small-town boy obsessed with kite fl ying, had this to say in support of its decision: “…The potential for life’s won-der could be seen in every child’s eye…

In particular, the boundless ingenuity of the young rascal was utterly compelling. We award this fi lm for capturing the iro-nies, the complexities and the vitality of India.”Killa, about a boy coming to grips with his father’s death and his mother’s conse-quent relocation to an unfamiliar place, was a runaway favourite of both the jury and the audiences in Berlin in 2014.The children’s jury of the Generation Kplus section was bewitched enough by the fi lm to say: “This fi lm convinced us in all respects: with its good camera work and the great actors, but also because of its incredibly beautiful nature images which blend perfectly with the music. The fi lm made us all want to discover India.”That probably says it all. It is when a fi lm reveals a nation and true aspects of its culture to the world with honesty, clarity and cinematic fl air that it strikes a chord with the audience.Berlinale observers will be keeping an eye on Sairat and Ottaal, hoping for a repeat the magic that India has been weaving on young audiences in one of the world’s premier fi lm festivals.

By Saibal Chatterjee

INDIAN WINNERS AT BERLINALE GENERATION

Vanaja (2007, Best Feature Film Award)

Killa (2014, Generation Kplus Crystal Bear)

Gattu (2011, Special Mention from the international jury)

Dhanak (2015,Grand Prix and Special Mention from the children’s jury)

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INDIAN M&E COMPANIES AT EFM

Over 50 Indian showbiz companies are at Berlin during this year’s European Film Market

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Page 20: Pickle Berlinale 2016 Issue

The disruption in the industry is already visible and 2016 will have clear answers on the future of lm distribu-tion in global and regional markets

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Page 21: Pickle Berlinale 2016 Issue

As the fi rst fi lm market of the year, the European Film Market (EFM), part of the 66th Berlin International Film

Festival, opened on a high note. The exhibi-tion spaces at Martin-Gropius-Bau and the Marriott Hotel at Potsdamer Platz are buzz with activity and more than 8,000 producers, exhibitors, world sales, buyers and fi nanciers are at Berlin.

The talking point at EFM is the Streaming and VOD market which are showing signs of increasingly becoming new normal. The dis-ruption is already visible and 2016 will have clear answers on the future of fi lm distribu-tion in global and regional markets.

The EFM is one of the most signifi cant plat-forms for trade in international fi lm rights and audiovisual content. As the fi rst industry event of the year, it is a compass for the newest developments.

“Our new initiatives are an appropriate reac-tion to the development of and great changes in the international fi lm and media landscape. The positive resonance last February con-fi rmed our intention to increase these of-ferings within the Market’s activities,” says Matthijs Wouter Knol, EFM Director since 2014. “This year as well, we are concerned with offering our exhibitors and participants the optimal environment, as well as opportu-nities relating to infrastructure and content”, says EFM President Beki Probst.

EFM Opens With

Optimism

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Page 22: Pickle Berlinale 2016 Issue

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India’s leading media conglomerate, Zwee Entertainment Enterprises Limited (ZEEL) has announced its

foray into Germany. The company also shared its plans to launch a free-to-air television channel for this market by mid-2016. This FTA channel, for the fi rst time, will bring high-quality Bollywood fi lms produced by the Indian fi lm indus-try as well as popular Indian television series to German screens, 24-hours a day. The new channel´s core target group will be females between the ages of 19 and 59. The channel is planned to be available on the most important satellite and cable platforms. Friederike Behrends will be responsible for business operations in the German-speaking area.ZEEL is amongst the largest producers and aggregators of Hindi programming in the world, with an extensive library housing over 210,000 hours of television content. With rights to more than 3,500 movie titles from foremost studios and of iconic fi lm stars, it houses the world’s largest Hindi fi lm library. Through its strong presence worldwide, it entertains over 959 million viewers across 169 coun-tries.Amit Goenka, CEO-International Broad-cast Business, ZEEL, said, “Our foray into

Germany is a major step as part of our international expansion strategy. The ob-jective is to establish a lasting presence and grow in the German television mar-ket. With our highest levels of entertain-ment and new content, we are confi dent of being able to offer our German view-ers an attractive enrichment to the exist-ing range of television offerings.” According to Neeraj Dhingra, CEO, Eu-rope at Asia TV Ltd., Zee TV, “The launch of the channel will signify ZEEL´s entry into one of the world´s most important television markets, in which the Bol-lywood genre is still barely represented as yet. With 210,000 hours of program-ming and more than 3,500 fi lm titles, our endeavor is to delight the German audi-ences with Indian content.”“We also welcome Friederike to the ZEE family. She brings with her a rich experi-ence and in-depth knowledge of Media, Broadcasting and TV content. Her exten-sive international and national industry expertise will help us not only to cement our presence in the German market, but take it to greater heights;” Dhingra add-ed.Friederike Behrends said, “Bollywood content offers a much broader spectrum than is known on German television.

ZEEL has announced its foray into Germany as it plans to launch a free-to-air TV channel by mid-2016. The plan is to bring the best of Bollywood fi lms, entertainment and general interest programmes to Germany

ZEE ENTERTAINMENT ADDS GERMANY TO ITS BOUQUET

BOLLYWOOD IN GERMANY

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The aim is to enhance Germany´s en-tertainment offerings by introducing an entirely new genre. We intend to capture the hearts of German viewers with Bol-lywood. We are currently engaged in in-tensive talks with German TV-platform operators with a view to expanding the reach as quickly as possible on a broad scale via all transmission paths.”Until recently, Friederike Behrends was the Senior Strategy Advisor for the in-ternational streaming provider Magine,

being responsible for its German market entry in 2014. From 2008 to 2012, she was Managing Director of WDR media group digital GmbH and the full-service inter-net agency webCOLONY in Cologne. She took over these positions after becoming a member of the Board of Directors at Bild.-T-Online.de AG & Co. KG, where she had worked since 2001. Previous career stages included a period at Grundy UFA TV Produktions GmbH.

AMIT GOENKA

CEO-International Broadcast Business, ZEEL

The objective is to establish a lasting presence and grow in the German tele-vision market

FRIEDERIKE BEHRENDS

Head, Business Operations, German speaking area

We intend to cap-ture the hearts of German viewers with Bollywood

NEERAJ DHINGRA

CEO, Europe at Asia TV Ltd., Zee TV

The launch of the channel will signify ZEEL´s entry into one of the world´s most important television markets

ZEE’s new German TV channel´s core target group will be females between the ages of 19 and 59

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GAME CHANGER MOVE

Netfl ix’s global streaming and VOD acquisition of Brahman Naman heralds a new dimension to distribution of Indian

cinema’s reach to global markets

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Netfl ix’s global streaming and vid-eo on demand rights acquisition of the hilarious coming-of-age

comedy Brahman Naman, from lead-ing Indian indie director Q (for Quashik Mukherjee) is set to be a game changer for new age independent Indian fi lmmak-ers. Brahman Naman will be available exclusively for Netfl ix members around the world later this year. Netfl ix launched its services in India on January 6 as part of its global expansion to 130 countries. Netfl ix is the world’s leading Internet television network with over 75 million members in over 190 countries enjoying more than 125 million hours of TV shows and movies per day, including original series, documentaries and feature fi lms.Set in Bangalore in the 1980s, Brahman Naman follows the exploits of Naman, a quick witted, high school quiz champ who leads his hopelessly nerdy friends on a trip to Calcutta to win a major col-lege prize. Young, smart and full of heart, the trio are determined to win the quiz - and to lose their virginity along the way.

Revered internationally as one of India’s most vital and provocative indie fi lm-makers, Q’s latest cinematic cocktail takes the classic American teen comedy, sharpens it with bawdy British word play, and hurls it in the face of the establish-ment with a fresh Indian cast. The fi lm was premiered at the prestigious World Drama Competition at the 2016 Sundance Film Festival.“Brahman Naman is Indian cinema at its boldest: fast, furious and raucously funny,” said Ted Sarandos, Chief Content Offi cer at Netfl ix. “It’s a movie that will delight adolescents of all ages, and we’re excited to bring this hilarious tale to our members around the world.”Written by Naman Ramachandran and produced by Steve Barron and Celine Loop, Brahman Naman is Q’s latest fi lm, following Gandu, Tasher Desh and Ludo. Brahman Naman stars Shashank Arora as Naman, Tanmany Dhanania and Chaitanya Varad as his sidekicks, and features Vaiswath Shankar, Sindhu Sreenivasa Murthy and Sid Mallya.

ternationally as one of India’sand provocative indie film-

BRAHMAN NAMAN

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How can Indian M&E Sector Leverage Make in India

to Reach out to the WorldDr S. Raghunath, Professor, Corporate Strategy and Policy, IIM Bangalore, examines some of the critical factors, including existing technology infrastructure and skills in the country, that will go a long way in en-suring that Indian M&E industry gains a competitive edge globally

Do we as a country have a sense of urgency in supporting the transformative infl uence of

digitization and the development of the electronic infrastructure for de-livery of media? Are we ready to uti-lize the window of opportunity for India to position itself as a cluster of skills and capabilities for the global media and entertainment industry to transact media and entertainment business with us?The macro-economic outlook of In-dia, the English speaking work force and the government’s “Make in In-

dia” and “Digital India” campaigns are clearly positive signals of intent.The M&E industry in India has been subject to advancement and change. New inscription technology has indeed contributed to segmenta-tion and fragmentation of audience. For instance there are 857 broadcast channels in India today and the in-ternet provides unlimited forum for publishing, broadcasting, multime-dia and interactive services. In our country the increasing demand for content and the changing interest of young and the middle aged who are

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giving their time and attention to the internet, hand-held devices such as iPad and Notebooks are providing unprecedented creative and commer-cial opportunities for media content providers. India already has 250 mil-lion digital screens including smart-phones, tablets, laptops PCs, which are way beyond the total number of fi lm and TV screens in the country.India is well positioned both in terms of requisite skills and project manage-ment capabilities to cater to the use of digital technology. There are growing opportunities for manipulating media content of any kind for dissemination in another format. This opportunity of manipulating, repackaging the content gives rise to entrepreneurs and employment growth. The presence of engineers who can work on digital technology in India is positively impacting media produc-tion, distribution and consumption patterns which also have strong im-plications for advertising. Advertis-ing is undergoing change in terms of metrics and formats. Vast choice of content and the advent of on-demand viewing and measuring viewer be-havior has become critical as it fa-cilitates targeted advertising.Opportunity Based On Digitized Me-dia ContentDigital technology is bringing down production cost of content and is improving the scope for freelancers

who are technically qualifi ed to gen-erate quality content. Low cost digi-tal cameras, camcorders and editing equipments, capable of producing broadcast quality output has made production cheaper and has lowered the barrier to industry entry. The spread of digital technology is offering equal opportunity for small Indian companies as well as estab-lished media companies to partici-pate in the growing global M&E mar-ket. Digitization and the growth of the internet are reducing many bar-riers to market entry and creating op-portunities for smaller companies of-fering skills in new forms of content creation.However digital business does re-quire substantial initial investment. The expansion in consumption in a given digital media product or ser-vice results in increasing profi tabil-ity. Government policy must facili-tate the creation of an environment where media and entertainment start ups are incubated and support-ed and are in a position to maximise participation in the market of digital content creation and dissemination. To start with, export benefi ts to post-production services under service tax regulation, a uniform simplifi ed single point taxation across product categories under GST will benefi t the Media and Entertainment Industry.

The macro-economic outlook of India, the English speaking work force and the government’s “Make in India” and “Digital India” campaigns are clearly positive signals of intent

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16 Indian Films to Watch Out for in 2016From big to small, from art house to commercial, Indian cinema has a lot to offer in 2016. Here are 16 titles that Indian cineastes are most likely to be talking about when the year draws to a close

Indian cinema looks well poised to be a happy hunting ground in 2016 for festival programmers, international buyers and lay movie fans alike.Big-ticket, star-studded Bollywood releases, promising independent fi lms Big-ticket, star-studded Bollywood releases, promising independent fi lms in different languages, and an array of eagerly anticipated titles from the regional industries – the world’s most prolifi c movie-producing nation has much on offer this year.On the Friday after the 66th Berlin Film Festival winds down, director Hansal Mehta’s buzz-generating Aligarh will go into nationwide distribution.This sensitive drama about the tragic fate of an Aligarh Muslim University profes-sor (played by Manoj Bajpayee) who was dismissed from service on account of his sexual orientation was applauded at several festivals last year after premiering in Busan.Aligarh isn’t, of course, the only Indian fi lm that took the festival route last year on its way to the domestic multiplexes.Neeraj Ghaywan’s Masaan made it to the Un Certain Regard section ofthe 2015 Cannes Film Festival, where it won awards and accolades. Thatpaved the way for a decent commercial release for the independent fi lm. It was well received by audiences in many cities in India.Festival programmers looking for cinematic gems from India in 2016 must have got down already to the work of scouting for fi lms that have the potential to travel across the world.On paper at least, there is unlikely to be any dearth of such fi lms, big and small. Here are 16 titles (in no particular order) that Indian cineastes are most likely to be talking about when the year 2016 draws to a close:

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ZULKolkat(JaatisCaesa‘doubThe dunderbigges

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VADA CHENNAI (NORTH CHENNAI) Director Vetri Maaran and actor Dhanush team up for this two-part Tamil-language saga that dramatizes 30 years of a gangster’s life. The duo’s previous two productions, Kakka Muttai and Visaranai, premiered in Toronto and Venice respectively and garnered global acclaim.

ZULFIQARKolkata-based director Srijit Mukherji (Jaatiswar, Rajkahini) blends the plots of Julius Caesar and Antony and Cleopatra in this ‘double adaptation’ of William Shakespeare. The drama is set in the city’s dock area underworld and stars two of Bengali cinema’s biggest stars, Prosenjit and Dev.

AUR DEVDASVeteran Mumbai fi lmmaker Sudhir Mishra’s take on the classic Sarat Chandra Chattopad-hyay tragedy is set in Uttar Pradesh. This fi lm is a political thriller that, in the words of the director, has elements drawn from William Shakespeare. The cast of Aur Devdas features Rahul Bhat (Ugly), Aditi Rao Hydari and Richa Chadda (Masaan).

VETRI MAARAN

SRIJIT MUKHERJI SUDHIR MISHRA

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TOPE (THE BAIT)Bengali auteur Buddhadeb Dasgupta’s upcoming fi lm is a characteristically po-etic rendition of a realistic short story by 20th century Bengali litterateur Narayan Gangopadhyay. Although the original tale has a period setting, Dasgupta gives it a contemporary spin and explores the interchangeability of the hunter and the hunted in modern life. The cast of the fi lm includes theatre pro and academic Sudipto Chatterjee, Paoli Dam, Ananya Chatterjee and Chandan Roy Sanyal.

OZHIVU DIVASATHE KALI (AN OFF-DAY GAME)This searing, strikingly original Malayalam fi lm by young Kerala director Sanal Kumar Sasidharan is a disturbing study of a society where caste and class divides are deeply entrenched and ripple to the surface at the slightest provocation. Structured as a series of long takes, with the last one running all of 53 minutes, which is half the fi lm’s duration, An Off-Day Game is an unfl inching look at troubling male attitudes and prejudices.

BUDDHADEB DASGUPTA

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RANGOONFilmmaker and musician Vishal Bhardwaj, after his Shakespeare trilogy (Maqbool, Om-kara and Haider), goes off in a new direction in this Casablanca-style romantic drama set during World War 2. The fi lm stars Saif Ali Khan, Shahid Kapoor and Kangana Ranaut. Rangoon also has Irrfan Khan in a cameo.

MOHENJO DAROAshutosh Gowariker, mak-er of outstanding period dramas like Lagaan and Jodhaa Akbar, has been off the boil for a while. Mohenjo Daro, a sweeping love story rooted in the days of the Indus Valley civilization, could mark the talented storyteller’s return to the big league. The fi lm stars Hrithik Roshan and model-turned-actress Pooja Hegde and has a musical score composed by the Oscar-winning A.R. Rahman, who worked with Gowariker in both Lagaan and Jodhaa Akbar.

VISHAL BHARDWAJ

HRITHIK ROSHAN

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MOHAVALAYAM (LIVES ELSEWHERE): Veteran Kerala art house fi lmmaker T.V. Chandran’s 16th fi lm is a self-refl exive rumination on the im-pulses and infl uences that drive him as a director. At the same time the fi lm explores the lives of expats from the Indian subcontinent who move to Saudi Arabia looking for work and then seek escape from the drudgery of their lives. Mohavalayam, which skirts around the clichés of the émigré experience genre, has been fi lmed in Bahrain.

SARBJITMary Kom director Omung Kumar’s second fi lm, Sarbjit is based on the true story of a Punjabi farmer who was jailed in Pakistan on charges of spying. Randeep Hooda plays the eponymous character, while Aishwarya Rai Bachchan has been cast as his sister, a woman who ran from pillar to post to get the man out of trouble. The cast includes Richa Chadda and Darshan Kumar (who played the titular real-life boxer’s husband in Mary Kom).

OMUNG KUMAR

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FANOne of Bollywood superstars Shah Rukh Khan’s two releases lined up for 2016, this fi lm seems primed to pull away the actor away from his romantic hero image. Maneesh Sharma’s eagerly anticipated Fan has star in a dual role as a super-successful movie idol and his obsessed fan.

DANGALDirected by Nitesh Tiwari, this sports-themed fi lm has Aamir Khan in the role of real-life wrestling legend Mahavir Singh Phogat, who defi ed social norms to groom two of his daughters, Geeta and Babita, to take up the sport and excel in it. Both girls have won India many medals in international competi-tions. Scheduled for an end-of-the-year release, Dangal is by far the most anticipated Bollywood fi lm of the year.

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RAEES Rahul Dholakia’s Raees, the second Shah Rukh Khan’s release of the year, pits the actor against the poster boy of independent Mumbai cinema Nawazuddin Siddiqui. This is a high-octane drama about a crafty bootlegger in 1980s Gujarat. Dholakia is the maker of the acclaimed Parzania, set in the days of the 2002 Gujarat riots. There is reason to believe that Raees will not be just another superstar vehicle aimed only at the masses. Expect the fi lm to throw up many surprises in terms of what it tells the audi-ence about contemporary India.

UDTA PUNJABVishal Bhardwaj protégé Abhishek Chaubey, who co-wrote the for-mer’s Omkara and Kaminey before helming Ishqiya and Dedh Ishqiya, directs this drama woven around the scourge of substance abuse in contemporary Punjab. The fi lm features Shahid Kapoor, Kareena Kapoor and Punjabi cinema heartthrob Diljit Dosanjh in key roles.

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KABALI Talking of superstars, there is nobody in India quite as charismatic as Rajinikanth and every fi lm of his inevitably whips of excitement. The Tamil cinema icon’s next fi lm is Tamil-Telugu crime drama that also stars Radhika Apte. Rajini plays an ageing Chennai mafi a don in the fi lm.

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SULTANThe year’s second big wrestling fi lm will see another Bollywood megastar Salman Khan play the char-acter of champion Haryana wrestler Sultan Ali Khan. Sultan, a Yashraj Films production directed by Ali Abbas Zafar, also features Anushka Sharma and Randeep Hooda in stellar roles.

CHAAYAM POOSIYA VEEDU (THE PAINTED HOUSE)The feature debut of the brothers Babusenan, Satish and Santosh, this intriguing Malayalam fi lm aroused a great deal of interest at the International Film Festival of Kerala late last year. It tells the story of an ageing writer who is compelled to confront and question all his assumptions about himself when he encounters a seductive young girl before whom his well cultivated veneer crumbles. Scenes of frontal nudity has set The Painted House on a collision course with the censors but the director duo has stood by their creative right to exhibit the fi lm without cuts. The fi lm deserves a wider audience.

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POWER 100 MOST INFLUENTIAL IN INDIAN MEDIA AND SHOWBIZ. WATCH OUT FOR THE 100th PICKLE APRIL 2016 MIPTV AND NABSHOW ISSUE.

INDIA AND BEYOND

Pickle’s goal is to help you buy, sell and distribute content from overseas territories, fi nd co-production partners, offshore with best of the Indian service companies and track media and entertainment business in India.

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SHOOTINGLOCALES IN

INDIAIndia is the most dramatic shooting location in the world: snowy mountains, pristine islands, plunging ravines, dusty plains--imagine the earth and get it. With 29 States, 67 languages, 850 million people under the age of 35, 850 TV channels, three billion cinema ticket sales and no major restrictions, India offers immense opportunity for fi lmmakers not only to shoot in India, but simultaneously work on an Indian version of a fi lm that will get business access in India. Here are the top Indian locales.

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KOLKATA

The British are long gone but the colonial infl uence still remains, in the look of its buildings and monuments. Interiors and mindsets that haven’t mor-phed with the times yet co-exist happily with today. The quaint hand-pulled rickshaws, the Chinese district. The boatsman taking people across the Hoogly as modern vehicles criss-cross the Howrah Bridge.

Rajasthan is fi lmmakers’ paradise and a dream destination for fi lm shooting - inspiring forts, majestic mansions, havelis of architectural splendour, heritage hotels, pictur-esque surroundings, wilderness of silence. The State has a fi lm-friendly policy and encourages fi lmmakers both within and outside the country.

Jharkhand is a nature lover’s para-dise. It is home to countless wa-terfalls -- Hundru Falls, Lodh Falls and Johna Falls. The State’s locales include forests, hills, valleys, water-falls, wildlife, history, culture, charm-ing towns and vibrant cities. It is an unexplored paradise and will be fi lmmakers’ delight for new locales.

JHARKHAND

RAJASTHAN

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The Dal Lake dotted with innumerable houseboats and the distant snow covered mountains. Each houseboat with its own interior layout. Gulmarg, Sonmarg and Pahalgam at higher levels. A warm and outgoing local popu-lace adding its own unique colour to the surroundings. A hint of uneasiness sometimes. And a visual of debris of violent terror attacks contrasts with the colours and culture of a peace-loving people and the beauty of the general environment.

PUDUCHERRYAng Lee’s Oscar winning fi lm ‘Life of Pi’ was shot partly in Puducherry (in South India). That has trans-formed Puducherry into a paradise for fi lmmakers. A French colony until 1954, this coastal town retains a number of colonial buildings, churches, statues, and systematic town planning and is dubbed ‘The Europe of India’.

KASHMIR

Its university is the seat of knowl-edge and ancient wisdom and the burning ghats along the river Ganga the apparent route to salvation and eternal peace. Spiritual and mystic moods meld with stark realities of everyday existentialism and the frolic of innocence.

VARANASI

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NEW DELHI Delhi has been the capital of suc-cessive dynasties and was the ‘Jewel in the Crown’ of the British Empire. The city has a continuous living history of more than 3000 years and has been one of the most important cities of India. This eternal city offers a sumptuous banquet of history and heritage, seamlessly in tune with its transformation as one of the world’s fastest growing and largest metropoles today.

GOAThe Cannes of India. Currently known as the host city of Interna-tional Film Festival of India. A land of sun, sea and sand; feni, fun and frolic. Beaches galore, churches and saints, music and dance, festivals and carnivals. Where people enjoy music and dance and raise a toast to celebrate every occasion.

MAHARASHTRAIndia in microcosm, Mumbai, or Bombay as it was once known, provides an excellent backdrop for the race that always fi nishes in the future. Slick and bright urban exteriors that have dark underbellies interrupted by colours that connect across time. Busy bustling daytimes with brightly lit nights that blink and shimmer to a heady beat of people and machines, avant garde and art-less, incessantly on the move.

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Ramoji Film City in Hyderabad is the world’s largest integrated fi lm studio complex and one of Asia’s most popular tourism and recreation centers. Hyderabad features many heritage buildings constructed during Qutb Shahi and Nizam eras, showcasing Indo-Islamic architecture infl uenced by Medieval, Mughal and European styles. Hyderabad houses the Telugu fi lm industry which produces over 200 fi lms each year.

KARNATAKA Houses the Silicon City of India. And a whole array of health spas. A range of architecture depicted through its palaces, temples, mau-soleums, monuments and ruins. Sanctuaries, national parks and waterfalls. Endless beaches, forests, scenic hills and modern cityscapes.

GUJARATGujarat offers beautiful landscapes of various natures, it is interspersed with culture, tradition and festivities. Gu-jarat has a diverse portfolio of land-scapes, from the hills of Saputara, to the white desert in Kutch, from the jungles of Gir to virgin beaches. Such landscapes, coupled with some beautiful heritage structures, make Gujarat a unique destination for fi lm-makers. These locales cater to every mood for every canvas.

HYDERABAD

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HIMACHAL PRADESH From hills to mountains, capped by snowy peaks; punctuated by passes and glaciers. Dotted by rich fl ora and abundant variety of wildlife with 90% of its seven million popula-tion people residing in rural areas. Himachal Pradesh has an abun-dance of parks, rich with fl ora and fauna and regions that experience temperature extremes.

MADHYA PRADESH Madhya Pradesh is called the Heart of India because of its location in the centre of the country. The State has everything -- mountain ranges, rivers dotted with hills and lakes and miles and miles of dense forests. Innumer-able monuments, exquisitely carved temples, & palaces are dotted all over the State.

KERALAKerala, commonly referred to as God’s own country, never lets one down. A small stretch of land, with its cool mountains in the east, rolling hills in the middle which ultimately reach out to the west to the long stretches of pristine, untouched beaches. This unmatched visual feast is complemented by its famous backwaters sandwiched between the sea and the land.

LADAKHIf the Himalayas can be likened to an oyster, then Ladakh is the pearl. Nes-tled in the womb of the Himalayas, the main attraction is the 9-storied royal palace styled on the lines of the famous Potala Palace of Tibet. There are the trekking trails, the temples of Chamba and Jo Kang Gompa and the Zanskar Valley.

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FR

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DIT

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’S D

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We are delighted to present the latest issue of Pickle on the occasion of Berlinale and

European Film Market 2016. Two Indian fi lms will be screened in the 66th Berlin International Film Festival and it is a good beginning for India. Normally, around 6 to 10 Indian fi lms get into offi cial Berlinale selections. This year’s Berlin Film Festival will see India being represented by two Generation fi lms – Nagraj Manjule’s Sairat (Wild) in 14plus and Jayaraj’s Ottaal (The Trap) in Kplus.These are exciting times to be in the fi lm business. The Indian media ecosystem is changing fast. There are few markets in the world where you could see both traditional and new media fl ourishing. There are 850 TV channels, 500,000 hours of TV content output, 950 million mobile phones (550 million active mobile users, 150 million top-end smart phone users), 94,000 newspapers published daily, 1,200 feature fi lms. And, Indian start-up ecosystem is beginning to mature specially in the digital media and ecommerce space.

The Over-the-Top (OTT) space is gaining attraction in the Indian market with the presence of hotstar, ErosNow, Ditto TV, HOOQ, Sony LIv. ALT Digital, Yupp TV among others. The entry of Netfl ix into the Indian market is already buzz in Indian showbiz. Viacom Play Plex, Amazon and Hulu are set to add the OTT market in India and its diaspora.If you are have plans to visit India, schedule it around end of March and be part of the FICCI FRAMES, Asia’s largest convention on the business of entertainment.Our forthcoming March issue is focused on the OTT market in India. We will have Power 100: India’s most infl uential in showbiz featured in April (MIPTV and NAB Edition) in the 100th edition of Pickle. Also, it is time for you to plan to experience second edition of Global Exhibition on Services, Great Noida, NCR (April 21-23, 2016). India is happening place now. Make in India, Show the World. It’s time do some serious business.Do drop in a line to get connected in the Indian M&E business.

n vidyasagarpickle [email protected], www.picklemag.com

Pickle Volume IX 6th edition

Published by Pickle Media Private LimitedEmail: [email protected]� Mumbai � ChennaiNo.2, Habib Complex Dr Durgabhai Deshmukh RoadRA Puram CHENNAI 600 028

Printed byDot Arts Private Limited, Chennai - 24. Ph: 044-64509066,

Editorial Coordinators :

M SaiEmail: [email protected]

For advertising: [email protected]

Pickle Business Guide 2016 Copyright 2016 byPickle Media Pvt Ltd. All Rights Reserved.Pickle is an ad supported business guide tracking the fi lmed entertainment business in India.

Layout Design: M Agnes JulieC

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