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Shyam Benegal’s Cannes debut: How Nishant & a bold saree stunt put Indian cinema on the global map

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12 months ago

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Shyam Benegal

Shyam Benegal, the legendary filmmaker who revolutionized Indian cinema, has died at the age of 90. Known for his trailblazing contributions to parallel cinema, Benegal’s death marks the end of an era that redefined Indian filmmaking. His legacy, built on realism, social commentary, and a break from conventional narratives, continues to inspire filmmakers today. As the nation mourns the loss of a visionary, his remarkable body of work remains an integral part of India’s cinematic history.

In 1976, Indian cinema witnessed a turning point when Shyam Benegal, a trailblazing director, made his debut at the prestigious Cannes Film Festival. At a time when Cannes was still firmly grounded in the world of cinema, not yet a fashion-driven spectacle, Benegal’s film Nishant was featured in competition. It was a groundbreaking moment for both the director and Indian cinema as a whole, marking India’s arrival on the global film stage.

Benegal, at the age of 42, had already made a lasting impact with his previous film Ankur, which subtly introduced the nation to a new wave of filmmaking. Nishant, like Ankur, showcased a unique narrative style that was rooted in realism, tackling socio-political issues with a raw sensitivity that resonated with audiences. But it was the film’s Cannes screening that truly marked a turning point for Indian cinema.

The 1976 Cannes Festival was different from the glitzy, fashion-focused events we see today. It was a celebration of cinema in its purest form. However, Benegal’s presence was far from typical. Along with Nishant, the director brought along his two lead actresses, Smita Patil and Shabana Azmi, to the French Riviera. Although the film was accompanied by posters from the National Film Development Corporation (NDFC), a mix-up meant that the posters never made it to the festival, but the trio of Indians did.

Shabana Azmi later shared how they made an unforgettable impression at Cannes. “In a place where we had no money and everybody was throwing lavish parties, Shyam came up with this unique idea. He said, ‘I want both of you [Azmi and Patil] to wear your finest South Indian saris and walk the promenade from eight in the morning,'” Azmi recalled. While everyone else was dressed in beachwear, the two actresses, in their traditional silk saris, paraded the streets of Cannes. They became living advertisements for their film, greeting passersby and inviting them to the screening. This unconventional tactic helped them attract an audience in the absence of a big promotional budget.

The story of Nishant at Cannes is as much about the film as it is about the personalities behind it. Benegal, known for his modest approach, had a keen understanding of how to present Indian cinema on the world stage. In an era when films were promoted with lavish budgets and star power, Benegal’s approach was simple yet effective. The director was also a seasoned adman who had spent years in the advertising world before venturing into filmmaking. His commercial acumen translated well into his filmmaking, as evidenced by his strategy to promote Nishant at Cannes.

Benegal’s cinematic journey started with Ankur in 1973, a film that introduced a new era in Indian cinema. Following Nishant, he directed other masterpieces such as Manthan (1976) and Bhumika (1977). Together, these films laid the foundation for what became known as “New Cinema” in India, a movement that sought to tell more socially conscious, realistic stories, often drawing attention to issues of class, caste, and gender. Through his films, Benegal introduced a new generation of actors, including Shabana Azmi, Smita Patil, Naseeruddin Shah, Kulbhushan Kharbanda, Om Puri, and Neena Gupta, many of whom became icons of Indian cinema.

Benegal’s approach to filmmaking was notably collaborative. He ran a tight-knit ship where everyone, from the actors to the crew, contributed in whatever capacity they could. The actors, many of whom were at the beginning of their careers, often worked for little to no money, driven by their desire to be part of a revolution in Indian cinema.

In Nishant, Benegal pitted Shabana Azmi and Smita Patil against each other, creating a compelling dynamic that made the film stand out. While Azmi’s character received more screen time, Patil, who was making her feature film debut, played an equally significant role. The film, which was set against the backdrop of rural India, focused on social issues and gender dynamics, and it became known for its powerful female leads.

Nishant was nominated for the Palme d’Or at Cannes and won the National Film Award for Best Feature Film in Hindi. Benegal’s participation in the Cannes Film Festival in 1976 proved to be a turning point for Indian cinema, and his legacy continues to inspire filmmakers today.

With films that were ahead of their time and an unwavering commitment to realism, Shyam Benegal ushered in a new era for Indian cinema. He not only changed the way stories were told but also made sure that India’s voice was heard loud and clear on the world stage. Nishant at Cannes marked the dawn of a new era — an era where Indian films, for the first time, garnered the international attention they truly deserved.

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120 Bahadur box office day 1: Farhan Akhtar’s film starts slow with Rs 2.35 crore opening

Farhan Akhtar’s new release 120 Bahadur opened to Rs2.35 crore, while De De Pyaar De 2 continued its strong hold on day eight.

Published

2 weeks ago

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November 22, 2025

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Farhan akhtar

Farhan Akhtar’s latest release 120 Bahadur hit theatres on November 21 but registered a dull opening on its first day, earning Rs 2.35 crore. In comparison, De De Pyaar De 2, which is now in its second week, continues to show stronger hold at the box office.

Slow start for 120 Bahadur on day one

The action-drama opened to modest numbers on Friday, collecting Rs2.35 crore on its first day. Despite pre-release buzz around Farhan Akhtar’s performance, the film has begun its run on the lower side.

De De Pyaar De 2 maintains its advantage

Meanwhile, De De Pyaar De 2 continues its steady run. On its eighth day, the film maintained an edge over 120 Bahadur in overall earnings, according to media. The strong hold of the Ajay Devgn-led sequel appears to have impacted the new release’s opening day business.

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Family Man 3 ending triggers online backlash despite strong reviews

The Family Man 3 has impressed viewers with its performances and storytelling, but its abrupt ending has sparked online criticism, leaving fans demanding closure.

Published

2 weeks ago

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November 21, 2025

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Family man

Fans of The Family Man 3 are celebrating the gripping new season, but a large section of viewers has taken to social media to criticise what they describe as an “abrupt” and “unsatisfying” ending. The latest season, which released on Amazon Prime Video on Friday, has drawn praise for its emotional depth and high-stakes storytelling, yet its final moments have left many feeling short-changed.

Viewers disappointed with the “sudden” conclusion

Soon after the release, frustrated fans began sharing their reactions online. One viewer wrote that the season “ends so abruptly it feels like the makers simply packed up and went home,” calling the lack of closure “exhausting”. Another comment read, “#TheFamilyMan3… ahh ending entra. Fully disappointed.”

Some tried to strike a balanced tone, acknowledging the well-crafted emotional arc and a comic cameo stretch that offered relief. However, the overall complaint remained the same — that the season cuts off just when the tension reaches its peak. “Why make us watch the entire season if the makers plan to keep the best part hanging for the next one?” a user questioned.

Still, many fans have labelled the show “engaging” and applauded the team for delivering another compelling chapter.

Season 3: Srikant caught between personal turmoil and a national crisis

The new season places Srikant Tiwari (Manoj Bajpayee) in one of the most complicated phases of his life. His relationship with Suchitra (Priyamani) appears strained, marked by distance and unspoken tension. Even as his home life falters, a series of coordinated blasts in the Northeast within 48 hours threatens a major peace initiative led by Prime Minister Basu (Seema Biswas).

Srikant and his senior officer Gautam Kulkarni (Dalip Tahil) travel to Nagaland to salvage Project Sahakar, relying on regional leader David Khuzou (Sunil Thapa) to bring warring sides to agreement. But the fragile situation collapses after a deadly ambush by drug kingpin Rukma (Jaideep Ahlawat), leaving David and Kulkarni dead. Srikant survives but soon becomes a suspect as investigators scrutinise how he was the only one aware of the convoy’s route.

Meanwhile in Mumbai, Suchitra faces her own crisis after the government bans 69 Chinese apps, including her platform ShrinkMe, sparking online targeting that impacts her family.

With an arrest warrant issued against him, Srikant chooses to escape with his family, setting off a tense chase as he tries to prove his innocence. Each twist raises new questions — who planned the ambush, and why is Srikant being framed?

Final reactions

While audiences largely appreciated the writing, performances and momentum, the widespread sentiment remains that the season’s final act lacked the closure fans expected. Many now hope the next instalment arrives sooner and concludes the arc that Season 3 left unresolved.

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Satish Shah, beloved Sarabhai vs Sarabhai actor, passes away at 74 in Mumbai due to kidney failure

Veteran actor Satish Shah, celebrated for his iconic comic roles in Sarabhai vs Sarabhai and Jaane Bhi Do Yaaro, passed away in Mumbai at the age of 74 due to kidney failure.

Published

1 month ago

on

October 25, 2025

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Satish Shah

Veteran Bollywood actor Satish Shah, best known for his memorable comic roles in films and television, passed away on Saturday in Mumbai. He was 74.

Filmmaker Confirms The News

Confirming the tragic news, filmmaker Ashoke Pandit expressed grief over the actor’s demise, saying that Shah died around 2:30 pm following kidney failure. His condition reportedly worsened at home before being rushed to the hospital, where he could not be revived. His cremation is expected to take place later today.

“It’s a very big loss for the industry. I have worked with him on many projects,” said the filmmaker, recalling that he learned about Shah’s death shortly after attending adman Piyush Pandey’s last rites.

A Legacy Of Laughter

Born on June 25, 1951, in Bombay (now Mumbai), Satish Shah hailed from a Kutchi Gujarati family. His career began in 1978 with Arvind Desai Ki Ajeeb Dastaan, but it was his portrayal of Municipal Commissioner D’Mello in the 1983 satire Jaane Bhi Do Yaaro that brought him widespread recognition.

Over a remarkable film career spanning decades, Shah appeared in more than 250 movies, including Hum Saath Saath Hain (1999), Kal Ho Naa Ho (2003), Mujhse Shaadi Karogi (2004), and Om Shanti Om (2007).

Television Stardom

Shah also left a lasting impact on Indian television. His 1984 sitcom Yeh Jo Hai Zindagi became iconic, where he played a new character in each of its 55 episodes. His role as Indravadhan Sarabhai in Sarabhai vs Sarabhai (2004), opposite Ratna Pathak Shah, remains one of the most loved comic portrayals in Indian TV history.

He also starred in Filmy Chakkar (1995) and later judged comedy-based reality shows such as Comedy Circus, continuing his association with humour and entertainment.

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