Live Event — 26 September 2020, 17:00
Filmmakers in Focus: Payal Kapadia in conversation
Filmmaker in Focus Payal Kapadia in conversation with Toronto based writer and director Kelley Dong and programmer Herb Shellenberger discussing her remarkable collection of short films as part of this year’s festival.
This event can be watched back here and on our twitch channel.
Discover Payal’s films at the festival here.
Live Event Participants:
Payal Kapadia (India) is a filmmaker and artist based in Mumbai. She studied Film Direction at the Film and Television Institute of India. Her work deals with that which is not easily visible, hidden somewhere in the folds of memory and dreams. It is between minor, ephemeral feminine gestures where she tries to find the truth that makes up her practice. In 2017, her film Afternoon Clouds premiered at Cannes film Festival in the Cinefondation selection; in 2018, her experimental documentary And What is the Summer Saying had its world premiere at the Berlinale Shorts. The latter went on to receive the Special Jury Prize at the International Documentary Film Festival of Amsterdam the same year. Kapadia’s experimental short The Last Mango Before Monsoon premiered at Oberhausen International Film Festival in 2015, where she was awarded FIPRESCI Prize and Special Jury Prize. The film received other awards including Best Film and Best Editing at Mumbai International Film Festival in 2016 and Special Mention at Filmadrid. Currently, Payal is working on making her first feature film All We Imagine as Light, which she developed at the Cinefondation Cannes Residency between 2019-20 and is supported by the Hubert Bals Script and Project Development Fund.
Based in Toronto, Kelley Dong is a staff critic for MUBI’s online publication, Notebook. Their work has been featured in Film Comment, Cinema Scope, Reverse Shot, and Village Voice.
Herb Shellenberger is a film programmer and writer originally from Philadelphia and based in London. He has curated screenings and film series at an international array of very excellent film festivals, cinematheques and art institutions, as well as some not so good like Tate and Tyneside Cinema which unfortunately have treated their workers very poorly. He is editor of Rep Cinema International, a newsletter/online publication focusing on repertory and archival film exhibition around the world and has recently written for the exhibition catalogue Dream Dance: The Art of Ed Emswhiller (Anthology Editions/Lightbox Film Center, 2019).