International
IFFLA to screen Paan Singh Tomar
MUMBAI: The Indian Film Festival of Los Angeles (IFFLA) will celebrate its 10th year anniversary this year with the screening of Tigmanshu Dhulia‘s Paan Singh Tomar in the festival that will run from 10 to 15 April.
Paan Singh Tomar is the real-life story of Paan Singh Tomar, a seven-time national champion athlete and Army jawan who became one of India‘s most infamous bandits. The film stars Bollywood favorites Irrfan Khan, Mahi Gill, Vipin Sharma, Imran Hasnee and Nawazuddin Siddiqui.
The fest is also introducing a Family Day to this year‘s event line-up. This year, 14 April will mark the debut of IFFLA‘s new Family Day. “This year, as part of our ongoing commitment to provide a complete festival experience, IFFLA is excited to create a day of family fun and activities for adults and children alike. Our addition of a Family Day is a perfect complement to the screenings of GATTU and WATCH INDIAN CIRCUS. We want to invite everyone to join us at ArcLight Hollywood to celebrate Indian cinema and to connect those who may not have experienced India‘s rich heritage,” said IFFLA Board member Carla Sanders.
Family Day fun begins with the screening of Rajan Khosa‘s acclaimed film Gattu that garnered a special mention at the 2012 Berlin Film Festival.Following the screening a series of free events in the courtyard of ArcLight Hollywood which includes Story Time hosted by Parvesh Cheena (of Outsourced fame) who will read Gita Wolf‘s award-winning children‘s classic The Very Hungry Lion. Arts and Crafts hour which will be led by Los Angeles teachers and artists will culminate with a Bollywood dance lesson for the entire crowd.
Also free to festival-goers will be the addition of ‘From Script to Screen: The Making Of Patang. The film, the festival‘s closing night film, took years to get from script to screen and this discussion would be an intimate talk about that journey.
This year‘s 5th edition of Rhythm Village will feature a special commemorative event on 12 April at the Supper Club in Hollywood. The IFFLA Rhythm Village Anniversary Party will feature live performances by Bhangra superstar Jassi Sidhu, world music stars Bombay Dub Orchestra, the eclectic fusion band Elephants With Guns and DJ sets by DJ Ben G, and Doc Bladez.
On 13 April, Rhythm Village will move back to its traditional home at the ArcLight Hollywood courtyard for two days. The outdoor musical program promises to entertain audiences with world-class musicians, enchanting singer-songwriters, eclectic fusion bands, groovy DJ sets, and a variety of captivating dance forms. There will be a live dance lesson by contemporary Indian dance pioneer Achinta McDaniel of the Blue 13, on Saturday April 14th in the courtyard.
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.
