Film festivals have traditionally occupied a rare cultural space where creative freedom is broader than in commercial cinema. The recent decision by the Union government to deny censor exemption to several films at the International Film Festival of Kerala (IFFK) has unsettled this understanding, raising wider questions about artistic autonomy, federal relations, and the shrinking space for dissent in India’s cultural sphere.
What triggered the controversy at IFFK?
Ahead of the festival’s 30th edition, the denied censor exemption to 19 out of 206 films scheduled for screening. While films at festivals do not require certification under the Cinematograph Act, they must obtain a one-time exemption from the Union Ministry. Historically, this process has been procedural, with rare interventions. The scale of this year’s denial was unprecedented and disrupted festival scheduling.
Why censor exemption matters for film festivals
Censor exemption recognises film festivals as curated, limited-audience platforms distinct from commercial release. It allows experimental, political, or niche cinema to be screened without the constraints imposed on mass theatrical exhibition. By tightening scrutiny at the exemption stage, the Union government effectively expanded censorship into a space long considered protected for free expression.
Films at the centre of the dispute
The denied list included Palestinian films such as Palestine 36, Once Upon a Time in Gaza, All That’s Left of You and Wajib, along with Sergei Eisenstein’s Soviet-era classic Battleship Potemkin. Also flagged were the Spanish film Beef—apparently due to misinterpretation—and Yes by Israeli filmmaker Nadav Lapid, known for his earlier criticism of state-sponsored film choices in India. The diversity of these films suggested ideological and geopolitical sensitivities rather than uniform legal concerns.
Centre–State tensions and shifting positions
Initially, the Kerala government directed the State Chalachitra Academy to screen all films, asserting cultural autonomy. Following protests from filmmakers and delegates, the Union Ministry partially relented, approving 13 films. However, six films remained blocked, and the State eventually stepped back, citing possible legal action under the Cinematograph Act. This retreat drew criticism, especially after remarks by academy chairperson Resul Pookutty about avoiding harm to international relations.
IFFK’s role in Kerala’s cinema ecosystem
Over three decades, IFFK has functioned as a mass festival with 10,000–15,000 delegates annually, unlike elite, invitation-only festivals. It has nurtured generations of Malayalam filmmakers by exposing them to global cinema and alternative narratives. The recent creative resurgence of Malayalam cinema is often linked to this sustained exposure and Kerala’s network of film societies.
Broader cultural and democratic implications
The episode is being read alongside developments elsewhere: the uncertain future of the MAMI Mumbai Film Festival, and the growing prominence of ideologically aligned films at the (IFFI). Together, these trends suggest a narrowing of institutional support for cinema that questions dominant political narratives, affecting India’s cultural pluralism.
What to note for Prelims?
- Cinematograph Act, 1952 and the distinction between certification and festival exemption
- Role of the Ministry of Information and Broadcasting in film regulation
- Federal dimensions of cultural governance
- IFFK as a State-supported international film festival
What to note for Mains?
- Artistic freedom versus state regulation in a democracy
- Centre–State relations in cultural and creative domains
- Impact of censorship on soft power and global cultural engagement
- Role of film festivals in sustaining pluralism and dissent
