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The crowds at the Fun Republic complex, where the 11th Mumbai Festival was held, proved that the culture of watching good cinema isn't dead in Mumbai there were audiences crushed into the aisles and stairs for most films.
Pity that films in the retrospective sections were not scheduled at the main venue, so the young viewers of which there were hundreds were deprived of the works of Theo Angelopoulos, but true devotees made the trek to distant Ghatkopar to catch some of them.
The selection of documentaries this year was excellent and what a stunning range of subjects from an expose on food production in the US (Food Inc) to the problems of illegal immigrants (Cash and Marry), many about political issues, particularly in the Middle East⦠This section was a feast for the mind and eyes. Unfortunately, Michael Moore's Capitalism billed as the Centre Piece of the Festival, didn't arrive... money hassles, apparently.
It has taken over a decade, but the Mumbai Film Festival is now getting it right. Unlike Goa, there is no
hankering after glamour though this year the Festival was right the midst of the film industry hub in Andheri (Yash Chopra's studio next door, and dozens of TV and film production companies around). If there were parties, they were small and discreet. There was a sizeable, though not huge, participation of foreign delegates and a fair amount of media coverage.
They may not have been too many Bollywood celebs in attendance, but there were many technicians, writers, and film students. One did not even miss the fuss and commotion that the presence of celebrities and red carpet events generate. This one, like Kolkata and Thriruvanthapuram is turning out to be a film buff's festival, and hope it remains this way. Let the stars and their entourages go to IFFI, the international festival in Goa.
However, watching films from all over the world, and some that came with endorsements and awards from other bigger film festivals, one see why Hollywood's domination is unchallenged, and Bollywood song-and-dance spectacles are gaining popularity in Europe. The films from Europe and most other Asian countries are dour looking films about angst-ridden people, some sadistically violent (Antichrist, Kinatay). The comedy gems In The Loop, Happy Go Lucky, Easy Virtue came from the the UK. Other entertaining films were Whiskey With Vodka from Germany and Ashkan, The Charmed Ring and Other Stories from Iran.
Maybe, like in India, elsewhere too there is this notion that only the most solemn and slow films are to be sent to festivals otherwise, some really enjoyable films come out of France, Italy and Germany, that are seen at mini-festivals organized by their embassies and consulates.
After every festival, the end of which feels everyone slightly dejected, because for a week they lived in a world of like-minded people collectively sharing an experience, three things take place: a DVD hunt for films one missed or loved; a slight contempt for Bollywood because they are not even exploring subjects that filmmakers from other countries are tackling with such honesty; ironically, it also renews a grudging respect for Bollywood naach-gaana and make-believe. At least our filmmakers set out to please an audience, and sometimes very rarely though art happens.
Winners take it all
Young Critics Award: Whisper With The Wind
Special Mention: Women Without Men
Dimensions Mumbai Award: 1st-Sagar Setu; 2nd-Mumbai Lego
Special Mention: Udaan and Kala Khatta
Audience Choice Award: Road To Sangam
Best Camera & Sound: Katalin Varga
Best Actress: Paprika Steen for Applaus
Best Actor: Edward Hogg for White Lightnin'
Best Director: Adrien Biniez for Gigannte
International Competition for Debut Films
Best Film: White Lightnin'
Jury Grand Prize: La Pivellina | 
