18102026-LSTL-01.qxd 10/17/2026 8:51 PM Page 1 c m y b TRIBUNE WATCH OUT FOR GONDHAL Festive Spirit Life Following its selection as India’s official entry for the 99th Academy Awards, Marathi folk-thriller Gondhal is set for a PanIndia theatrical release on November 13. Bollywood actor Vijay Varma attends the Dia de los Muertos (Day of the Dead) celebration organised by Hacienda Patrón in Mumbai, Maharashtra. LUDHIANA | SUNDAY | 18 OCTOBER 2026 ‘India doesn’t choose the right films’ Nonika Singh W HAT began as a deeply personal story soon transformed into an international talking point. When Angh, the beautiful and riveting film from Nagaland, won the Platform Prize at the Toronto International Film Festival, it automatically qualified for consideration for Oscars and remains very much in contention in the Oscar race. In the exclusive interview, the winning team of Angh, writer-director Theja Rio, producer Nancy Nisa Beso and executive producer Gaurav Dhingra, can’t hide the heartburn for the film not being India’s official entry for Oscars. Nancy is more vocal about her disappointment for this is the second time a film submitted by her was sidelined by The Film Federation of India. She fails to understand why the jury would not consider Angh, which has successfully competed at a prestigious international festival. Executive producer Gaurav is equally dismal and laments, “India doesn’t choose the right films.” Though, he can’t quite pinpoint what works in international markets which is such a diverse pool. But Academy Awards, he reminds is a competition and why he rues, Writer-director Theja Rio, producer Nancy Nisa Beso and executive producer Gaurav Dhingra express their disappointment over Angh missing out on being India’s official entry to the Oscars Whatever film India chooses for the Oscars next time should be one that has made a mark internationally. NANCY NISA BESO I made something personal, close to my heart, I try not to play mental gymnastics or intellectualise themes. Angh is the film for international market. Usually stories which are universal in nature work well. “Would you not send a film which has already made a mark internationally? Angh would appeal to international audiences, for it’s a universal story of father and son.” Man of the moment, writer director Theja, however, would rather focus on the film which is being described in glowing terms. He agrees with most definitions, ‘elegy to Nagaland’s tribal history, poetic lament of a lost tribe.’ Indeed, this is how he visualised the film and is happy that it has resonated the way he intended. Since Angh mirrors the conflict between tradition and modernity, he agrees that this clash is as much a story of each of us today as of its lead protagonist of 1960s. The film’s authentic voice, however, is its real USP Though we are often . tempted to chorus, ‘local is global’ and ‘regional is universal,’ the secret insists The- al cinema they rarely look towards this region. Of course, things are changing post Angh and they are getting some very positive feelers. Would it change the landscape of films from Nagaland? Well, they are optimistic but not unduly upbeat. Theja finds comfort in, “Outpouring of love and appreciation from mainstream cinema.” Of course, he has not received any offers from Bollywood. Nor is he sure whether he would take it up if the same happened, for, he would like to write what he directs. Anyway, for a team which has busted the Bollywood formula there is no reason to board this bus. And as Gaurav reminds us, “India has never been more ready for indie films.” They continue to champion independent streaks, born out of truth and conviction with Nancy exulting how Angh is ‘one of a kind’ film, her toughest so far. As India waits with bated breath for Angh to succeed at the Oscars, they are not feeling the weight of expectations. Only doing what comes best and naturally to them; make films with heart and soul, with perseverance and conviction as their main arsenal. ja lies in “honesty and conviction.” Also, the writer of the film, he has already shot his next. Set in 2002, it’s a story of a young boy he grew up with. Whether Angh’s success made it easy for him to direct his second feature or not, he laughs, “I have not learnt any lessons from the challenges of Angh.” Sure, compared to Angh, his second directorial is a smaller film, but made on 16 mm and with non-actors; precisely the factors which had made Nancy’s life difficult. Indeed, the success that the world is seeing today did not come without its fair share of impediments. Nancy recalls, “Creating an entire village from scratch in the middle of nowhere was no mean task. We were like cowboys ready to ride whatever obstacles came our way.” They also have beautiful memories of a com- GAURAV DHINGRA munity kitchen where all ate together, of cast and crew who gave it all and locals support. It was almost as if it takes a village to create a film. Today, as they are readying for the Oscar campaign, they might not be placing all their bets on their film which they are exceptionally proud of. THEJA RIO But, yes, they will give 200 per cent, put their best foot forward to ensure it wins and make the film as visible as possible. As the North-East has suddenly become the flavour of the season with one after another film picking up top international prizes, Nancy does not think the attention films from the North-East are gaining is a new trend. But yes, she is piqued that whenever people, especially streaming platforms, think of region- Kalibari Chandigarh Production presents Swayangsiddha, a dance drama that delves into women’s enduring quest for identity, dignity and freedom Akhil Kumar Every autumn, the resonant beats of the dhak fill the air as Chandigarh gears up to welcome Maa Durga. For a few days, the city embraces a distinctly Bengali rhythm, with mornings devoted to pushpanjali and sumptuous bhog offered to the goddess, while evenings come alive with cultural programmes. Amidst the Pujo festivities, Kalibari Chandigarh Production brought a compelling question to the celebrations on Friday evening —what happens when a woman refuses to be defined by the boundaries society sets for her? The dance drama, titled Swayangsiddha, was conceptualised and directed by Amrita Ganguly and choreographed by Archita Palit, explored women’s enduring quest for identity, dignity and freedom. Its narrative revisited familiar figures from mythology, history and literature through a distinctly feminist lens. Draupadi’s humiliation in the Mahabharata exposed the moral failure of those who remained silent in A dance of defiance the face of injustice. Kunti’s separation from her firstborn, Karna, revealed the anguish and social stigma surrounding unmarried motherhood, while Sita’s ordeal questioned a society that demanded proof of a woman’s purity rather than extending her trust. Mirabai, meanwhile, embodied the defiance of a woman who chose devotion to Krishna over expectations of a royal family. The struggle for autonomy extended beyond mythology into the lived experiences of women across generations in 19th century Bengal. Rashsundari Devi’s extraordinary determination to educate herself in an era that denied women access to learning found expression in her auto- biography, Amar Jiban. A more unsettling dimension emerged through Mahasweta Devi’s Draupadi, featuring Dopdi Mejhen, a tribal resistance fighter whose defiance against state oppression transforms vulnerability into an assertion of dignity. The portrayal brought marginalisation, violence and resistance into spotlight, confronting audience with the brutal realities faced by women at margins of the society. The production also drew upon Ashapurna Devi’s celebrated feminist trilogy. In Rabindranath Tagore’s Chokher Bali, Binodini challenged the constraints imposed on widows, revealing the complex interplay of desire, loneliness and social expectations. Tagore’s Chitrangada celebrated individuality beyond conventional femininity, while Bankim Chandra Chattopadhyay’s Prafulla depicted a woman’s transformation from vulnerability to self-reliance. Together, these literary and mythological works formed a powerful meditation on womanhood, connecting struggles separated by centuries yet united by a common desire for freedom. Amrita Ganguly, who directed the play, says, “Swayangsiddha explored how women across mythology, history and literature questioned injustice, endured resistance and fought for their identity with courage. The asura, it suggested, is not merely a mythical demon but a mindset that turns differences into inequalities and oppression. The true awakening of Shakti lies in recognising and challenging this mindset— a power that resides within the consciousness of every woman who dares to question, resist and reclaim her freedom.” learn LITJAM TRICITY NO EXIT OIL PAINTING DATE OT karaoke, not a concert — India’s favourite Bollywood singalong experience, with massive sing-alongs from every era, a playlist packed with 100+ iconic hits, and fun icebreakers that turn the whole room into part of the show. It’s on October 25 at Bira 91 Taproom, Mohali. psychological drama based on Jean-Paul Sartre’s celebrated play, following three individuals trapped in a room, forced to confront their fears, secrets and guilt, presented by Sultan Drama Productions and directed by Sandeep Kaur. It’s on October 28 at Tagore Theatre, Chandigarh. creative, cozy workshop where you and your partner can explore the beauty of oil paints while making your own masterpiece, guided by friendly mentors through basic techniques — no prior experience needed. It runs from October 18 at Olive Cafe and Bar, Chandigarh. A SRK unveils chandigarh mohali N chandigarh love WHAT’S HOT play A c m y b music festival Shah Rukh Khan is stepping into live music with UNIFYD, a new festival set to debut in Abu Dhabi on March 20, 2027. The single-day event will pack more than 15 performers onto multiple stages, with Arijit Singh, Karan Aujla and Sonu Nigam already locked in. Behind the scenes, D’Yavol Live and District have taken on production duties, while Abu Dhabi’s Department of Culture and Tourism, Miral and Emirates NBD come on board as partners.