Tracking the fascinating journey in international cinema with Guneet Monga

Film producer Guneet Monga is no stranger to global success. ‘The Elephant Whisperers’, a film produced by Monga won the 2023 Academy Award for Best Documentary Short Film. Her earlier brush with the Oscars was in 2019, when the short film ‘Period. End of Sentence’ won the Academy Award for Best Documentary Short Film. Monga was an executive producer of this short film.

In 2008, she started her own production company, Sikhya Entertainment. With Anurag Kashyap, she went on to work on films like ‘Gangs of Wasseypur’ Part 1 and Part 2, and ‘That Girl in Yellow Boots’, besides, ‘Trishna’, ‘Shaitan’, ‘Michael’ and ‘Aiyya’.

Monga is also part of The Walkers Project supported by Walkers & Co. Under this project, selected filmmakers groomed by Monga presented their work at the recently concluded Cannes Film Festival 2024.

In an exclusive conversation with Adgully, Guneet Monga speaks at length about The Walkers Project. She also shares her fascinating journey in international cinema, how she learnt the ropes to showcase Indian cinema to the world, as well as several valuable inputs as to how budding filmmakers can win over the world stage.

How did you happen to get attached to this project?

My involvement with The Walkers Project reflects a strong belief in mentorship and fostering artistic growth. As a producer, I have witnessed the journey of budding talents evolving into visionary storytellers, highlighting the significance of guidance in filmmaking. Selected for this initiative, alongside Akshay Parvatkar and Ambiecka Pandit by Walkers & Co and Film Companion, I was committed to empowering emerging Indian filmmakers who share our dedication to progressive storytelling.

This opportunity resonates with my passion for driving positive change through film and contributing to the cultural landscape. Working closely with aspiring directors aligns seamlessly with my commitment to enriching cinema’s diversity. Each interaction offers a chance to nurture innovation and resilience, shaping the next generation of storytellers. I embrace this responsibility wholeheartedly, driven by a profound belief in cinema’s power to inspire and provoke social change.

According to you, what are the areas new directors need to focus on?

Film festivals hold a magical allure, especially for young filmmakers and producers like me. Often, in our excitement, we overlook the importance of simply moving forward. Taking that leap of faith, whether it is a significant leap or just a small step, is what truly matters. Throughout my global travels to promote our films and showcase Indian cinema to international audiences, I discovered that the most effective approach is to ask openly and without hesitation. Set aside your ego, shed your inhibitions, and engage in self-reflection with a solution-focused mindset to create positive outcomes.

Persistent thoughts will eventually materialize. Dare to be bold, ask without reservation, and embrace who you are unapologetically. We are all navigating our paths together, and sometimes we just need to step aside from our obstacles and move forward. Always have your 30-second pitch ready; you never know which interaction will lead to your next project.

At Cannes, you are not only representing yourself, but also the future potential of everything you hope to achieve. Along the way, you will find others with similar dreams or those who dare to dream with you. For new directors, mastering the fundamentals of storytelling is crucial. Focus on screenplay writing, directing actors, and visual storytelling techniques. Additionally, understanding the business aspects of filmmaking – such as budgeting, financing, and marketing – is essential for successfully navigating the industry. Networking and building relationships with industry professionals can open doors to new opportunities and collaborations. Most importantly, stay true to your unique voice and vision while continuously seeking growth and learning opportunities.

How important is it for aspiring talents to be presented on international platforms?

As an outsider, you aren’t given a roadmap or told who to talk to, which encourages you to embrace the unknown. One thing I quickly learned was the importance of building strong connections with everyone I meet. Film festivals are one of the best ways to engage and network. At Cannes, I remember getting acquainted with the legal aspects, meeting sales agents, getting terminologies, and learning about more case studies of other films to take “The Lunchbox” forward for release and distribution. Meeting European producers and having meaningful conversations helped me gain the knowledge to structure co-productions and find new ways to realize our dreams.

The global filmmaking community is small, and film festivals become our annual hubs. My meetings at Cannes started at 7 am with early breakfasts and continued until 4 am. The multi-floor market at the Palais showcases the sheer scale of the cinema business. People from China, Japan, New Zealand, the USA, Europe, Australia, Canada, and of course, India, are present. Films are sold, remake rights are bought, and countless loglines and stories are discussed. Film festivals are an excellent starting point to experience the love of cinema on an international scale and though it is just the start, I am glad that through The Walkers Project initiative, Akshay Parvatkar is able to experience all of this.

How was your first experience at international festivals?

My first film festival experience was in 2010 at the Venice Film Festival for ‘That Girl In Yellow Boots’. I remember booking an apartment through a broker since there was no Airbnb in Venice, only to realize the actual festival was in Lido. It was 45 minutes away by boat from Venice. I over-printed posters, postcards, and all kinds of film stationary for the festivals, absolutely unaware that advertising space had to be bought at the festival for showcasing posters, so then,  my team and I wore our posters, literally stapled them on our backs and walked all across the festival as human billboards. We were young, passionate, and eager to tell good stories to the world.

In 2012, ‘Peddlers’ was screened in Critics’ Week, and ‘Gangs of Wasseypur’ in Directors’ Fortnight. We made many mistakes in those early years, but they taught us valuable lessons. With no one to guide me, I learned to embrace the unknown and ask questions freely. Now, I am thrilled to offer guidance and support to others navigating their own journeys.