Three cinematic worlds unfold at IFFI as ‘Nilgiris,’ ‘Mu. Po. Bombilwadi,’ and ‘Sikaar’ take centre stage

Goa Khabar : At the International Film Festival of India, a cross-cultural, cross-genre dialogue took the stage today as the cast and crew of three compelling films came together for a lively press conference filled with insight, emotion, and humour. In an engaging exchange, the creators of ‘Nilgiris: A Shared Wilderness,’ ‘Mukkam Post Bombilwadi,’ and ‘Sikaar’ unpacked the rich and varied themes woven into their films.

‘Sikaar’: A Tribute, A Journey, and a Cinematic First for Assam

The session opened on a deeply emotional note as ‘Sikaar’ director Debangkar Borgohain remembered the film’s lead actor, musician Zubeen Garg, who passed away recently. Having collaborated for nearly two decades, Debangkar recalled how he originally approached Zubeen only for the music. “He heard the story and said he wanted to act,” he smiled, before adding quietly, “This is the last film of his to release while he was with us. It’s been 64 days since he passed. He would’ve been happy to be here today.”

Debangkar also reflected on the extraordinary production journey of ‘Sikaar,’ the first Assamese film to be extensively shot abroad, with nearly 70% filmed in London. With most of the team unable to travel, the director worked remotely from Guwahati, often “sitting under mosquito nets” while guiding the shoot through livestreams, a remark that drew warm laughter from the room.

He spoke of the overwhelming reception the film received at IFFI. “Seeing houseful shows and people from different parts of the country appreciating it makes me happy. I want to portray the real Assam. One,  full of strength and dignity,” he said.

On concerns regarding OTT visibility for regional films, Debangkar noted that while these platforms have expanded global access, they often fail to give regional cinema the spotlight it deserves.

‘Nilgiris: A Shared Wilderness’ Captures a Living, Breathing Biosphere

While ‘Sikaar’ brought emotion, the team of ‘Nilgiris – A Shared Wilderness’ brought awe. Adarsh N C, Associate Producer, spoke about the patience needed to create a wildlife documentary shot in 8K and 12K, capturing elusive species in a region shaped over billions of years. “The stars of our film are the wildlife. They don’t arrive on time. There are no retakes,” he said, emphasising how three months could sometimes go into getting a single shot.

He added that the documentary is also an exploration of coexistence. “It’s about how we share the wilderness in our own backyards. We went into people’s homes to find species living right next door.”

Team member Sri Harsha described the unpredictable nature of such filmmaking: “We had no clue what we were going to film. We didn’t know where the animals were. There’s a huge research team behind the camera updating us on wildlife movement. Eventually you get a sense of the story you’re building.”

When asked whether global documentary giants influenced the film, Adarsh said: “’Nilgiris’ is a make-in-India film. Every person behind it is Indian.” Harsha added, “We learn from global technology and talent, and we bring that into an Indian system. Someday, we hope to be a model for the global industry.”

Adarsh also shared that while OTT enquiries have been strong, the team wants audiences to experience ‘Nilgiris’ on the big screen. “Many documentaries don’t make it to theatres, but ‘Nilgiris’ had a good run. OTT matters, but later,” he said.

‘Mukkam Post Bombilwadi’: Comedy Meets Colonial-Era Chaos

Adding a sharp shift in energy, the team of ‘Mukkam Post Bombilwadi’ brought the house down with their humour-meets-history narrative. Director Paresh Mokashi and producer Bharat Shitole discussed the challenge and delight of adapting their original stage play into a film set in 1942, where a quiet coastal Maharashtrian village finds itself tangled in both the freedom struggle and the chaos of World War II.

On blending comedy with such a serious backdrop, Paresh said, “Great comedies have been made on subjects like poverty.” He went on to explain how humour doesn’t dilute the truth, but instead often reveals it better.”

Addressing a question on OTT shaping regional cinema, Paresh noted that the journey begins at home. “Regional films must find patronage with local audiences first before going global.” Producer Bharat Shitole echoed the sentiment, noting that while OTT has widened opportunities, regional films still need more equal visibility on these platforms.

The press conference offered a sweeping view of India’s cinematic diversity, from the pristine ecosystems of the Nilgiris, to the spirited hilarity of Bombilwadi, to the emotional sweep of Assamese lives stretched across continents. With each team bringing honesty, warmth, and creative clarity to the conversation, the session stood as a reminder of what IFFI continues to celebrate: a cinema ecosystem where every story matters, every region finds a voice, and every filmmaker brings a world of their own.