IFFK: Alternative of change for the alienated
The capital-driven in film industry has finally become undemocratic and mob-centric. It has been continuously trying to deny the class sense beyond the constructed common sense. Film is the art of 20th century, said Lenin in a democracy which could identify the politics, culture and history in the film where it was made. But capitalism commercialises everything and ruin the cultural spaces.
At this context we can realise the right wing politics of Indian films. It otherwise alienates people and the entire history. The Indian film in the 21st century is the hegemony of finance capital and Brahmanism. Dalit’ s, Muslims, other minorities, communists, migrants, and sexual minorities have been systematically excluded and film reaffirms the collective conscience. Since the cultural ministry is in the hands of Sangh Parivar and all the production houses are corporate driven, it makes the right-wing their process easy.
IFFK is a different voice in this scenario. It emphasise the voice, vision and opinions of‘ the other’ and bring them into mainstream.
The provision for transgender to entry their gender identity as‘ trans’ in the 21st edition of IFFK is an example of this trend. It is as important that to understand that the space of exhibition is for all as the selection of films. When the film fest reaches this small state in India from the Mussolini’ s fascist party, it put forth an alternative culture in film.
IFFK challenges the majoritarian class, caste, colour, value and beauty concepts. Beyond the typical festival of screening the movies, IFFK also provides the stage for discussions and political resistances. The protest against playing national anthem prior to the screening shows the democracy in the festival.
Happiest thing in the 21st edition of IFFK was the presence of transgender. When Indian films use the colloquial uses of third gender as obscene and derogatory to maintain the male domination in the society, the fest did not left them with mere representation but gave a stage for their expressions.
The politics of the selection of movies is also important. We are living at a time which the
Jithin k C
Film Critic
Theyyam 24