Acclaimed actor Nawazuddin Siddiqui voiced a powerful critique of the Indian film industry’s neglect of independent cinema, emphasizing that indie films bring international recognition to India but receive little support domestically. Speaking ahead of the Cannes Film Festival premiere of Neeraj Ghaywan’s Homebound in the Un Certain Regard section on May 21, Siddiqui highlighted the global impact of filmmakers like Anurag Kashyap, Payal Kapadia, and Ritesh Batra, whose small-budget films resonate far beyond India’s diaspora. He argued that these filmmakers, often dismissed as “festival filmmakers,” depict authentic stories from India’s streets and corners, earning accolades abroad while struggling for recognition and resources at home. This stark contrast between global fame and domestic indifference underscores a critical challenge for Indian cinema: fostering an ecosystem that nurtures indie films to sustain their cultural and economic contributions.
Independent cinema in India operates on modest budgets, often relying on creative ingenuity rather than financial muscle. Unlike Bollywood’s high-budget spectacles, which dominate theaters with star-driven narratives, indie films prioritize nuanced storytelling and complex characters. Siddiqui, whose career spans both mainstream hits like Bajrangi Bhaijaan and indie gems like The Lunchbox, noted that films like the latter, released in 2013 and co-starring Irrfan Khan and Nimrat Kaur, have left a lasting impression globally. At small film festivals, such as one in Florida, audiences recognize directors like Kashyap and Kapadia, while mainstream Bollywood directors often remain unknown. This international appeal stems from indie films’ ability to portray universal human experiences through hyper-local lenses, transcending cultural boundaries.
The lack of domestic support manifests in multiple ways. Indie films typically secure limited theatrical releases, restricting their reach to niche audiences in urban centers. Siddiqui pointed out that these films are often labeled “festival films,” a term that diminishes their commercial potential and sidelines their makers. Producers frequently reject indie scripts for lacking commercial elements like fights, songs, or high drama, as Siddiqui experienced when trying to connect young directors with funding. He recounted how producers dismissed scripts for their simplicity, despite their emotional depth. This commercial bias stifles innovation, forcing many indie filmmakers to seek international funding or festival platforms like Cannes, Sundance, or Berlin to showcase their work.
Siddiqui’s advocacy is rooted in personal experience. Having risen from a small town in Uttar Pradesh to become one of India’s most versatile actors, he has often worked in indie projects for little or no pay, driven by a passion for authentic storytelling. His breakout roles in films like Gangs of Wasseypur (2012), Miss Lovely (2012), and Manto (2018) earned him critical acclaim and awards, including a National Film Award and two Filmfare Awards. Eight of his films have been screened at Cannes, a rare feat for any actor globally. Yet, he lamented that even celebrated films face censorship hurdles or limited distribution in India. For instance, his 2017 film Haraamkhor, which premiered at the New York Indian Film Festival and won him a Best Actor award, struggled with domestic release due to its controversial subject matter—a teacher-student relationship—highlighting the challenges of portraying complex human narratives in India’s conservative market.
The global success of Indian indie cinema is undeniable. Payal Kapadia’s All We Imagine as Light won the Grand Prix at Cannes in 2024, and Kapadia was nominated for Best Director at the 2025 Golden Globes, a first for an Indian filmmaker. Similarly, Kartikeya Gummakonda’s The Elephant Whisperers clinched an Oscar for Best Documentary Short in 2023, yet received little mainstream attention in India. These achievements, as Siddiqui noted, prove that indie films are India’s cultural ambassadors, earning recognition where Bollywood’s formulaic blockbusters often fall short. However, the lack of institutional support—through funding, distribution, or policy incentives—hampers their growth. In contrast, countries like France and South Korea bolster their indie sectors with grants and tax breaks, enabling filmmakers to experiment and thrive.
The domestic film industry’s priorities exacerbate the problem. Bollywood, with its ₹4,000-crore annual box office revenue, focuses on star-driven projects that guarantee returns. Streaming platforms, initially a haven for indie content, have shifted toward mainstream productions, as Siddiqui observed in a 2021 interview, calling OTT platforms a “dumping ground” for redundant shows. Small-budget gems like Scam 1992 or Sir succeed, but they are exceptions in a landscape dominated by big production houses like Dharma Productions or Red Chillies Entertainment. The absence of dedicated funding bodies, like the National Film Development Corporation (NFDC), actively supporting indie projects further limits opportunities. In 2024, only 10% of NFDC’s budget was allocated to independent filmmakers, with the rest supporting commercial or government-backed initiatives.
Social media sentiment on platforms like X in May 2025 echoed Siddiqui’s concerns. Users praised indie films for their global impact, with posts citing Kapadia’s Cannes win and Ghaywan’s Homebound as proof of India’s storytelling prowess. Others criticized Bollywood’s obsession with “nepo kids” and formulaic films, arguing that indie cinema’s critical acclaim far outweighs the public hype of blockbusters like Jawan or Pathaan. However, some defended mainstream cinema, noting its role in mass entertainment and arguing that both genres can coexist. This divide reflects a broader cultural tension: while indie films elevate India’s global image, they struggle to compete with Bollywood’s marketing muscle and star power.
Siddiqui’s solution is twofold: produce indie films himself and advocate for systemic change. He has begun producing projects, including a biopic on Assamese judge Upendra Nath Rajkhowa, to support young directors with personal, authentic stories. He also called for greater support from producers, audiences, and policymakers to create space for indie cinema. Potential reforms include tax incentives for indie releases, dedicated festival circuits in India, and platforms like MUBI, which champion global indie content but remain niche in India. Strengthening regional film industries, such as Kannada or Malayalam cinema, which have produced indie hits like The Great Indian Kitchen, could also decentralize Bollywood’s dominance.
The stakes are high. Indie films not only enhance India’s soft power but also nurture talent and diversity in storytelling. Without support, India risks losing its most innovative voices to international markets or obscurity. Siddiqui’s passion for indie cinema, rooted in his theater days and early struggles, serves as a rallying cry for change. As Homebound prepares to shine at Cannes, the question remains: will India embrace its indie filmmakers as national assets, or continue to let their brilliance flourish only abroad?
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