Empathy as a Creative Foundation
The panel — featuring actor-filmmaker Rajni Basumatary, cinematographer Fowzia Fathima, actor-filmmaker Rachel Griffiths and actor Meenakshi Jayan — opened with a shared observation: empathy defines much of women’s storytelling. Fowzia said empathy guides the creative trajectory, from the initial idea to the final frame, enabling local stories to achieve global resonance.
Rajni added that women filmmakers often notice the small, intimate details of life, and these subtleties help surface narratives that might otherwise remain untold. Such sensibilities, the panel agreed, are assets for independent cinema seeking honest, human-centred stories.
Networks, Mentorship and Growing Visibility
Discussion turned to representation and support systems. Fowzia chronicled the growth of the Indian Women Cinematographers’ Collective — formed in 2017 and now nearly two hundred strong — as a model of mentorship and peer support that helped connect filmmakers and technicians across experience levels.
Rajni recalled hiring a collective member two years ago, demonstrating how formal and informal networks lead to concrete creative collaboration. Meenakshi pointed to a Kerala government initiative that funds films by women, citing her own film Victoria as a product of that support, while also flagging possible abuses where men might submit projects under women’s names — a caution that underlined the need for safeguards alongside funding.
Balancing Creativity, Career and Care
Panelists spoke candidly about the challenge of balancing family responsibilities and creative careers. Rachel discussed alternating work models and shared how she navigated parenthood and filmmaking. Fowzia reflected on returning to cinematography after motherhood and celebrated opportunities to continue her craft, including an upcoming commercial project.
Meenakshi, who aspires to produce, emphasised the importance of creating professional models that support caregiving without derailing creative momentum.
Shifting Industry Structures: Production, OTT and Pay Parity
Speakers noted industry changes that are expanding roles for women. Rajni and Meenakshi pointed to OTT platforms as catalysts for diverse female roles. Fowzia observed that more women are moving into production, broadening decision-making spaces. Rachel stressed that meaningful progress on pay parity will require active participation by men in acknowledging and correcting imbalances.
Local Stories, Global Reach
On writing and process, Rajni spoke of grounding narratives in local realities and intergenerational trauma, citing her film choices that center gender justice and an all-women cast. Meenakshi echoed the creative freedom in building films around female ensembles, even while noting that such choices still prompt questions from traditional gatekeepers.
Rachel urged filmmakers to trust that the right audience exists for authentic stories, and that creative persistence — combined with strategic collaboration — helps films find their viewers.
Recommendations and a Collaborative Future
When asked which films everyone should watch, Rachel recommended Dangal, Fowzia chose The Power of the Dog, Rajni suggested Article 15 and Eye in the Sky, while Meenakshi named Shiva Baby and cheekily recommended her own Victoria. Their choices reflected a blend of social realism and formal daring — a roadmap for independent filmmakers.
The session ended on an optimistic note: the four panelists spoke of potential collaboration and affirmed that independent cinema provides a vital space for women to imagine new futures together.
About IFFI
The International Film Festival of India (IFFI), established in 1952, is South Asia’s longest-running celebration of cinema. The 56th edition runs from November 20–28 in Goa, bringing international competition, masterclasses, tributes and the WAVES Film Bazaar.
