Hindi
‘Thithi’ to open Dharmashala fest; to screen 45 features and shorts
NEW DELHI: A total of 45 features and shorts are to screened at the fifth Dharamshala International Film Festival (DIFF) to be held from 3 to 6 November.
The Festival to be held at the Tibetan Children’s Village, Dharamshala, will have 27 Features and 18 shorts, apart from four video installations.
Presented in collaboration with long-term partners Thyssen-Bornemisza Art Contemporary, the festival is also supported by theHimachal Pradesh government and the National Film Development Corporation (NFDC). It is curated by festival directors Ritu Sarin andTenzing Sonam, along with associate director Raman Chawla, filmmaker Umesh Kulkarni (short films programme) and children’s media specialist Monica Wahi (children’s films programme).
Raam Reddy’s critically acclaimed Thithi will be the opening night film while India’s Oscar entry Vetri Raman’s compelling Tamil drama Interrogation will close the festival.
This year’s programme includes feature films, shorts, children’s films, video installations, masterclasses, workshops and community outreach events—offering a selection of the best in contemporary independent cinema.
DIFF will showcase unconventional, adventurous works that couple cinematic experimentation with pressing political and social concerns.
This year’s festival also has a strong contingent of regional Indian and Asian films. Fifteen filmmakers from across India and the world will present their work at DIFF 2015.Most of the films have been screened at prestigious international festivals and several are making their Indian premieres.
Veteran filmmaker Saeed Akhtar Mirza will also be attending and participating in a conversation with Programmer Curator and Author Aseem Chhabra.
Some of the foreign filmmakers coming include Pimpaka Towira (The Island Funeral), Boo Junfeng (Apprentice), Chow Kwun-Wai (Ten Years), Jeon Soo-il (A Korean in Paris), Rokhsareh Ghaem Maghami (Sonita), Sean McAllister (Syrian Love Story), Nguyễn Trinh Thi (Vietnam The Movie), and Tenzin Dasel and Rémi Caritey (Royal Café).
Indian filmmakers participating are Rajiv Ravi (Kammatipaadam), Umesh Kulkarni (Highway), Raam Reddy (Thithi), Sanjeev Kumar (Circles of the Mind) (Man de Phere), Pushpa Rawat (The Turn) (Mordh), and Bauddhayan Mukherji (The Violin Player).
Anna Vilgelmi, producer and associate director of The Wounded Angel, will also be attending.
Others expected are the lead actor of Lathe Joshi, Chitranjan Giri, as well as Girish Kulkarni (TBC) who is acting in Highway.
Special local interest this year comes in the form of a Spotlight onKangra Valley which features Dharamshala director Sanjeev Kumar’s feature Man de Phere (Gaddi language); Prabhijit Dhamijia’s short Asmad and Steffi Giaracuni’s documentary about a legendary Himachal architect, Didi Contractor: Marrying the Earth to the Building.
A selection of single-channel video installations from Thyssen-Bornemisza Art Contemporary’s private collection: Basel Abbas and Ruanne Abou-Rahme’s Collapse and The Incidental Insurgents (Parts 1 and 2), and Ritu Sarin and Tenzing Sonam’s Some Questions on the Nature of Your Existence will also be presented.
Ritu and Tenzing told indiantelevison.com: “As we celebrate our fifth edition, we hope to build on the hallmarks that have made DIFF such a special event. After reviewing hundreds of films over many months, we have put together a slate of films that embody the spirit of independent cinema, that demonstrate strong directorial vision and a willingness to take risks, and that tell stories that are relevant in today’s world.”
Hindi
New labour codes reshape rules for India’s media & entertainment sector
EY masterclass highlights unified framework, wage redefinition and expanded coverage.
MUMBAI: The new labour codes just rewrote the rulebook for India’s media and entertainment industry because when four old laws become four big codes, even the fine print needs a director’s cut. At the FICCI-EY Media & Entertainment Industry Report launch, EY partners Nirali Goradia and Lakshmi Ranganathan delivered a detailed masterclass on how the labour codes implemented in November 2025 are fundamentally changing the sector. The four consolidated codes Code on Wages, Code on Social Security, Industrial Relations Code, and Occupational Safety, Health and Working Conditions Code have replaced a fragmented set of central and state regulations that existed for decades.
The speakers explained that the new framework brings consistency across all types of establishments and workers. Previously, cine-workers, journalists and other media professionals were governed by separate, narrow laws. Now, definitions have been broadened: “audio-visual worker” now covers everyone involved in film, television, OTT, broadcasting and digital content creation, while “working journalist” extends to digital news platforms.
Key changes include:
- A uniform definition of wages, with at least 50% of total remuneration needing to qualify as wages for calculations like provident fund and gratuity.
- Expanded social security coverage for gig workers, platform workers and project-based freelancers.
- Unified working conditions, safety norms and leave entitlements.
- Simplified compliance through digital filings and a more principle-based approach.
Nirali Goradia emphasised that the codes aim to bring gig workers, freelancers and project-based talent under the social security net, though the exact contribution mechanism for platform workers is still being finalised. She noted that the intent is clear: no worker should be left out of basic protections such as provident fund, ESI, gratuity and safety standards simply because of the nature of their engagement.
Lakshmi Ranganathan highlighted that establishments in the sector must now carefully map their workforce—permanent employees, fixed-term contracts, freelancers and gig workers because different categories attract different obligations. She pointed out that gratuity vesting for journalists remains at three years, but the broader wage definition will impact calculations across the board. Organisations that previously computed contributions on basic salary (often 35-40%) will now need to move to at least 50% of total wages, potentially increasing costs by around 10% on a recurring basis. This change applies retrospectively for gratuity valuation as well, creating immediate balance-sheet implications for many companies.
The panel also discussed how the Occupational Safety, Health and Working Conditions Code has expanded the definition of “manufacturing process” to include digital printing and related activities. This brings more workers under safety and working-condition norms that were previously limited. Additionally, the codes introduce a clearer framework for fixed-term employment contracts, offering organisations flexibility while ensuring such workers receive benefits similar to permanent employees, including gratuity after one year.
One area still evolving is the treatment of platform and gig workers. The Social Security Code recognises this new category, but the exact funding mechanism and contribution structure are awaited. Industry experts expect a dedicated fund where platforms and employers will contribute, from which benefits can be extended to gig workers. Until the schemes are notified, organisations are advised to review their existing contractor and freelancer agreements to assess potential future obligations.
Both partners stressed the need for proactive steps. Companies should:
- Reclassify their workforce based on the new definitions of “employee” and “worker”.
- Review compensation structures to align with the 50 per cent wage threshold.
- Update contracts, especially for project-based and gig engagements.
- Reassess gratuity liabilities and payroll processes.
- Ensure compliance with expanded safety and working-condition requirements.
The speakers noted that while the codes bring much-needed unification and broader coverage, they also demand careful interpretation. The shift from highly prescriptive rules to a more principle-based regime means organisations must build internal frameworks to apply the codes consistently. This is particularly relevant for the media and entertainment sector, where project-based work, freelancers, short-term contracts and gig-style engagements are common.
In an industry that thrives on creativity and agility, the new labour codes are forcing a rewrite of the fine print. What was once a patchwork of rules is now a unified playbook and for media houses, the real plot twist will be how quickly they adapt to keep talent happy, costs manageable and stories flowing. The next few months, as states finalise their rules and schemes are notified, will be critical in determining exactly how this new framework reshapes hiring, compensation and workforce management across the sector.
