International
Accessibility takes centre Stage at the 18th Mumbai International Film Festival
Mumbai: In a special effort to take the joy of films to diverse sections of the society at the 18th Mumbai International Film Festival 2024, NFDC has partnered with Svayam, a not-for-profit organization dedicated to promoting accessibility and inclusion, to make the MIFF venue accessible for all the cinephiles. Apart from this, there will be a special screening of four Divyangjans films/episodes on 19 June 2024 to allow persons with Disabilities to also enjoy films at MIFF 2024.
Through structural and logistic changes and identifying the best practices for accessibility standards, the partnership with Svayam is striving to make the NFDC -FD premises which is also the venue for the 18th MIFF, disabled-friendly. This initiative marks the first time in MIFF’s history that such paramount importance has been placed on venue accessibility, setting a new standard in the realm of film festivals.
As the Accessibility Partner for the upcoming week-long event, Svayam has made several efforts to ensure that MIFF 2024 is truly inclusive and accessible to all. The organisation conducted comprehensive accessibility audits of the festival venue at NFDC – Films Division premises, providing tailored solutions to enhance accessibility in accordance with universal best practices.
For the first time ever, the entire festival team will be sensitised and trained to ensure a culture of inclusivity and empathy. “This time we will not only ensure the venue is accessible to the Divyangjans but also ensure the volunteers engaged in the festival are also trained appropriately to handle the differently abled at the festival.” says Festival Director, Shri. Prithul Kumar.
Svayam also conducted an exclusive sensitization training session at the MIFF premises, on 13th June 2024. The training session engaged 120 plus organisers, including senior officials, stakeholders, volunteers, and staff members. The session focused on fostering awareness and understanding of proper etiquette and terminology to help the team especially when interacting with film lovers and attendees with reduced mobility, including individuals with hidden disabilities, pregnant women, children, and senior citizens.
The sensitization training session covered a range of topics, including: Understanding Disability; Difference between Disability and Impairment; Understanding 21 disability as per RPWD ACT 2016; Models of Disabilities; What is Barrier free environment? Types of barriers with examples; Disability Etiquettes; Using right Terminology.
Additionally, participants engaged in simulation exercises to gain firsthand insight into the barriers faced by individuals with reduced mobility, followed by interactive user group discussions to share experiences and insights.
“Accessibility is a fundamental right, and we at Svayam are committed to ensuring spaces are welcoming to all. Our collaboration with MIFF 2024 is a significant milestone in promoting inclusivity within the film festival landscape.” Ms. Sminu Jindal, Founder-Chairperson of Svayam, expressed her enthusiasm about the partnership. “By prioritizing accessibility, we are not only opening doors for individuals with reduced mobility but also paving the way for a more inclusive future where diversity is celebrated with dignity.”
Taking the effort forward, some screening at the 18th MIFF 2024 have also been designed in a manner that will allow persons with disabilities to watch and enjoy film. “The 18th Mumbai International Film Festival showcases Accessible Films. There will be films with Indian Sign Language and closed captions for the audience who have hearing disabilities and also films with audio description for the visually challenged. Also there will be a film ‘Cross Over’ with live dance using the Indian Sign language,” stated Festival Director, Shri. Prithul Kumar at the Curtain Raiser Press Conference for 18th MIFF 2024.
The special screening of Divyangjan Films will also be showcased at the Festival to allow persons with Disabilities to also enjoy films at MIFF 2024. The films are-
1. THE CROSSOVER (ISL/English – 21 minutes) by Methil Devika
The Crossover is a short film that captures a dance performance where the dancer seamlessly integrates the Indian Sign Language with the aesthetic sign language of Mohiniyattam – an Indian classical dance form of Kerala, to explicate the narrative.
2. Little Krishna (English) with Indian Sign Language by Ish
Episode 3: The Horror Cave (22 mins) and Episode 8: Challenge of the Brute (23 mins)
When Lord Krishna was enjoying his childhood pastimes with his friends in the forest of Vrindavana, a demon named Aghasura, instigated by Kamsa, appears intending to kill them all. Also in the village of Vrindavana, one demon named Arishtasura terrorizes the inhabitants, prompting them to seek protection from Krishna. Krishna confronts the demons, effortlessly defeating them.
3. Jay Jagannath (Hindi – 36 mins) by Shripad Warkhedkar
Lord Jagannath, incarnated as a child named Jagan, and his devoted follower Balaram. It explores their adventures and incorporates folktales, blending mythology and friendship narratives.
MIFF 2024’s commitment to accessibility underscores its dedication to fostering an inclusive environment where everyone can fully participate in the celebration of cinema. Joining hands with Svayam, MIFF sets a precedent for other festivals to follow, demonstrating that accessibility is not only achievable but essential for creating truly enriching experiences for all attendees.
LOS ANGELES: Acting has never been an easy profession, but in recent years, it has acquired a new existential anxiety. Artificial intelligence can now mimic faces, clone voices and, in theory at least, speak any language it is fed. The fear that actors may soon be replaced by algorithms no longer belongs exclusively to science fiction. And yet, despite the rise of digital inauthenticity, some performers remain stubbornly resistant to replacement. The reason is not celebrity, nor even talent. It is language.
On paper, this should not be a problem. AI can translate. It can imitate accents. It can string together grammatically correct sentences in dozens of languages. But acting, inconveniently, is not about grammatical correctness. It is about meaning, and meaning is where AI still falters.
Machine translation offers a cautionary tale. Google Translate, now powered by neural AI, has improved markedly since its debut in 2006. It can manage menus, emails and airport signage with impressive efficiency. What it struggles with, however, are the moments that matter most: idioms, metaphors, irony, and cultural shorthand. Ask it to translate a joke, a threat disguised as politeness, or a line heavy with emotional subtext, and it begins to unravel. Acting lives precisely in those gaps.
This matters because film language is rarely literal. Scripts, particularly in independent cinema, rely on figurative speech and symbolism to convey what characters cannot say outright. Pedro Almodóvar’s Volver is a useful example. The film’s recurring use of red operates on multiple levels: grief, desire, repression, liberation, and memory. These meanings are inseparable from the Spanish cultural context and emotional cadence. A translation may convey the words, but not the weight they carry. An AI-generated performance might replicate the sound, but not the sense.
This is where multilingual actors gain their edge. Performers such as Penélope Cruz and Sofía Vergara do not simply switch between languages; they move between cultural logics. Their fluency allows them to inhabit characters without flattening them for international consumption. Language, for them, is not an accessory but a structuring force.
Beyond European cinema, this becomes even more pronounced. Languages such as Hindi, Arabic and Mandarin are spoken by hundreds of millions of people and underpin vast cinematic traditions. As global audiences grow more interconnected, the demand for authenticity increases rather than diminishes. Viewers can tell when a performance has been filtered through approximation. Subtle errors, misplaced emphasis, and an unnatural rhythm break the illusion.
There is also a practical dimension. Multilingualism expands opportunity. Sofía Vergara has spoken openly about how learning English enabled her to work beyond Colombia and access Hollywood roles. But this movement is not a one-way export of talent into English-speaking cinema. Multilingual actors carry stories, styles and sensibilities back with them, enriching multiple industries at once.
Cinema has always thrived on such hybridity. Denzel Washington’s performances, for instance, draw on the cultural realities of growing up African American in the United States, while also reflecting stylistic influences from classic Hollywood and Westerns. His work demonstrates how identity and influence intersect on screen. Multilingual actors extend this intersection further, embodying multiple cultural frameworks simultaneously.
At times, linguistic authenticity is not merely artistic but ethical. Films that confront historical trauma, such as Schindler’s List, rely on language to anchor their moral seriousness. When Jewish actors perform in German, the choice is not incidental. Language becomes a site of memory and confrontation. It is difficult to imagine an automated voice carrying that responsibility without hollowing it out.
This is why claims that AI heralds the death of language miss the point. Language is not just a delivery system for information. It is a repository of history, humour, power and pain. Fluency is not only about knowing what to say, but when to hesitate, when to understate, and when to let silence do the work. These are not technical problems waiting to be solved; they are human instincts shaped by lived experience.
AI may one day improve its grasp of metaphor and nuance. It may even learn to sound convincing. But acting is not about sounding convincing; it is about being convincing. Until algorithms can acquire memory, cultural inheritance and emotional intuition, multilingual actors will remain irreplaceable. AI may learn to speak. But it cannot yet learn to mean.
In an industry increasingly tempted by shortcuts, language remains stubbornly resistant to automation. And for actors who can move between worlds, linguistic, cultural, and emotional, that resistance is not a weakness, but a quiet, enduring advantage.
