One Day on Earth


‘One Day on Earth’ is the first film made in every country of the world on the same day. We see both the challenges and hopes of humanity from a diverse group of volunteer filmmakers assembled by an participatory media experiment. The world is greatly interconnected, enormous, perilous, and wonderful. Written by Kyle Ruddick.

‘Home’ Screening


Film HOME, is a beautifully shot panorama of the Earth and the damage done to it by modern humanity. The film is almost entirely composed of aerial shots of various places on Earth.

Produced by the brilliant and ecology-minded French director Luc Besson, it is the work of acclaimed aerial photographer Yann Arthus-Bertrand. Taking over eighteen months to complete the film, director Yann Arthus-Bertrand and his crew flew in a small helicopter through various regions in over fifty countries.

You Don’t Belong – Screening


‘You Don’t Belong’ traces the journey of a song from the margins into the urban ‘popular’ mainstream which is placed in the larger narratives of myth and memory, folk and copyright, home and migration, writer and composer. Disparate artists are bound together in this film in the quest for the elusive author of the song “Laal Pahari”.

This is one self-reflexive journey into the world of folk, a journey, which nudges established ideas of home, nostalgia, belonging, and authorship as the film explores deeper into the song that serves for a metaphor of the contemporary fragmented times.

Blood & Flowers/ Amruta Patil/ In conversation


Amruta Patil will be sharing images from her new graphic novel Sauptik: Blood and Flowers* and will talk about stories and art, warriors and lovers, hermaphrodite dancers, blood and flower metaphors, un-gendering mythology…and what it means to gestate everyone’s story in one standard-edition body.

*Preorder Sauptik:

#AmrutaPatil #RasaReplete #Sauptik #Mahabharat #mondayfix

Presentation/ The Last Wave/ Pankaj Sekhsaria


Pankaj Sekhsaria is a member of the environmental action group, Kalpavriksh where he works on issues of the Andaman and Nicobar Islands and also edits the bi-monthly newsletter, the Protected Area Update. He is a freelance journalist, photographer and author, most recently, of The Last Wave – an island novel, a story based in the Andaman Islands.

He has just finished his doctoral work in Science and Technology Studies (STS) from Maastricht University, Netherlands, where he investigated scientific research practices in five nanotechnology laboratories in India, titled ‘Enculturing Innovation – Indian engagements with nanotechnology’.

The presentation will be the story of two parallel journeys – one is of the geology, ecology and history of the islands; the other is his own journey of travelling and discovering the islands.


Materiality of Sound/João Renato Orecchia Zúñiga


João Renato Orecchia Zúñiga is an artist and performer who makes things with sound. Through experimentation and improvisation Orecchia investigates the materiality of sound, seeking a balance between computer technology, hand-made electronics and real world sounds like the human voice, field recordings and traditional musical instruments.

He is in artists-in-residency program with Oddjoint at Goa.

Orecchia has released several recordings, been nominated for a South African Film & Television Award for sound design and published a sound work in the latest issue of the Leonardo Music Journal.

Sound Bending/ Travelogue/ Sameer Thakur


It has a sharp tongue, over 1500 names and shapes, has been to space and can hide among house keys. It also chases away all thought and can compose the universe, amplified by/in your head.

Ancient traditional and shamanic practices consider its vibrations a hidden code to time travel.

And for our resident lotuseater and president-of-the-lying-down-society Sameer, it all started with a big twang!

About a decade ago, Sameer embarked on his own sound-bending journey while watching hundreds of dead people turn to ashes on the banks of the Ganga in Banaras while vaguely considering afterlife and (im) mortality. As company, he only had a mutt and a Morchung, the desi mouth harp picked up that day. The mutt stretched, yawned left at some point but the instrument became his thought-chasing magic machine/ friend /guide/starship enterprise that very bizarre night. They are inseparable ever since.

Along the way, this self-confessed-emperor-of-lazydom has taught himself the didgeridoo and a few other curious instruments acquired on travel trails. He has since connected many many friends and strangers to the Morchung. Many have confessed to not sleeping much the first night of the big twang. Simple and ancient sound-bending stuff are his thing.

This summer of 2016, Sameer Thakur was invited to share sounds of his Morchung in Yakutsk, Russia at, convincingly, the world’s largest festival celebrating the traditions of the mouth harp. Khomus, the traditional version of the mouth harp is the national instrument of the republic where people say “Siberia? Pffft. That’s behind and we’re beyond!” He felt a bit like a cultural kosmonot, so he joined an ensemble to play Indian style in museums and festivals in Moscow, Hungary and Sicily. With a few impromptu solo gigs in hostels, parks, permafrost and volcano trails thrown in.

Sameer will share images, sounds and thrills of traveling where few have been and the magic of carving ice, forging iron and sharing sound-bending and time-shifting vibes with some amazing sentient beings – humans, horses and mammoths included.

He will also seek friends on a crowd-sourced project mapping unknown facts and stories around this magical instrument across the planet. Talk less, harp more. This is his new thing.

Presentation/Film Maker/Ruchir Arun


Ruchir Arun is a graduate from Film and Television Institute of India. He works as a freelancer filmmaker in Bombay. His Diploma film Mandrake! Mandrake!, won the national award for the best short fiction film in the year 2014. His 2nd short film 5 o’ clock accidents got a Special Jury Mention at the National Awards, 2015. These films along with others have been showcased in various film festivals across the world.

In his words –

Of all the things that happened in the year 1985, the singular most important event (according to the writer) and the one that will have ever lasting impact on humanity was the appearance of the comic strip named ‘Calvin and Hobbes’. Born in the same year as the comic strip, Ruchir Arun was around seven years old when he first laid year eyes on Watterson’s masterpiece. Though at that age, the existential philosophy made no sense, what really attracted Ruchir to the comic strip was spirit of friendship between the boy and the tiger and the enormous amount of time they spent (wasted) talking about things that had no purpose or consequence. It reflected what an ideal life was like in Ruchir’s head. One such useless conversation between Calvin and Hobbes has in a way had a lasting impact on Ruchir’s life.

In that particular strip, Calvin was discussing what a 20/10 vision is. He tells to an ignorant Hobbes, ‘If you have 20/10 vision you are above average! You are better than the “normal” person and you have better than what is considered to be standard or normal, vision. If you have 20/10 vision, you can see at 20 feet, what a normal person can see at 10 feet from an eye chart. Only 1% of people have 20/10 vision. If you fall in the 1%, then Nothing can stop you’.

Ruchir Arun was born on 20/10 of1985. Somehow he felt that these words were directly addressed to him. This simple (and stupid) assumption has lead to a life of adventures and misadventures. Soon with life opening up to new comic characters, Ruchir’s obsession shifted from Calvin to Calculus (from Tintin). He obsessively read and re read every known publication of Tintin. His favourite was Calculus. In fact as a teenager, he so desperately wanted to be like Prof. Calculus that soon after school he joined the Mathematics honours course in St. Xaviers, Calcutta. But reality is much stranger than fiction. One day in first year of Maths hons. a friend of his invited him to see a film called Taxi Driver. As he was seeing Scorsese’s masterpiece, he had a complete meltdown as he was being consumed by the phenomenon called adulthood. As the film stopped after two hours, Ruchir did not want to be a scientist with impaired hearing, neither did he (thankfully) want to be a Taxi Driver. He wanted to be a film-maker. Did he think it would be easy to become a film-maker. No, but then he remembered what Calvin had once told him, Nothing can stop me. He promptly dropped out of Maths hons. the following semester and joined a film studies course in the same college. In that course Ruchir made a film called God’s Men that was accepted in some local film festivals and was really appreciated by the 7 out of 9 people who saw it. It boosted Ruchir’s confidence. Nothing can stop me was his motto and he was ready to take the next big step in his life. He was ready to go to FTII. Despite some horrible ragging and a worse interview, Ruchir found himself at FTII. This gave him further confidence that no matter how badly one f*** in life, No one can stop him.

As soon as he entered FTII, a whole new world opened up for him. He was given the gift he had been searching for his entire life, the gift of Poker. Ruchir excelled at playing Poker at FTII. His nights were spent swindling his fellow students off their money and days spent dozing off in class. Somehow he scraped through this three (5) years at FTII and made a diploma called Mandrake! Mandrake! which would be the fourth or the fifth best film in his class but then to everyone’s surprise (and his own) got a National Award for the best short film. While accepting the award from the President he smiled smugly and thought ‘No one can stop me’ and then arrived in Mumbai in full flair where he met his match! Mumbai Stopped him!

The first year in Mumbai was not working out as dreamily as he thought it would. Thats where the skill set he picked up in his film school came into use. Poker saved the day, and the month and the year subsequently. The day his seniors (with who he piled on in order to escape RENT) finally threw him out Ruchir landed a plum assignment. He made a film called ‘5 o’ clockaccidents’ that got him his second national award.

As Ruchir was wondering whether he should think ‘Nobody can stop me’ a few ads came his way – where he would have to deliver as a first AD. He now learnt what it means to work 8 days a week and 25 hours a day. He managed to still hold fort amidst the madness and the mayhem where he visited countries like Thailand on assignments only to see their airports and their cabs.

As the madness and the mayhem in the ad world continued to grow in deafening decibels Ruchir was offered his first commercial to direct a public service campaign called ‘Mike and I’, which genuinely won the hearts of many Facebookers, ending in two marriage proposals. Politely rejecting them saying he is too young to get married Ruchir went on to direct an ad on marriage, a wedding rather, for BIBA. The BIBA commercial got millions of hits and suddenly the world started opening for Ruchir in a different way.

Currently, Ruchir spends his days working on concepts for commercials and web series and features and his nights, dreaming of a time when he wouldn’t have to do any of the hard work and he would be on the head of a Poker table raising his glass of champagne and thinking the thought that has stuck by him for over two decades – No one can stop me.


Screening : Remembering Kurdi

rememberingkurdiSaumyananda Sahi, the director will present his 64-minute documentary film, ‘Remembering Kurdi’, produced by the Films Division of India.

The film tries to piece together fractured memories of a village that was submerged by the Salaulim Dam over three decades ago, but which resurfaces annually for a few weeks during the summer – allowing its prior inhabitants to return to perform rituals, visit the graves of their ancestors, have picnics in the ruins of their homes, and remember what is lost.

In chronicling the continuing importance of the places of our past, and in observing how people return even after being rehabilitated elsewhere, the film reflects on how memory is such an integral part of our sense of belonging, and how land can mean so much more than an entity to be bought and sold, or to be abandoned in the name of development.