The city of Kolkata is buzzing with anticipation as the 31st Kolkata International Film Festival (KIFF) draws near, promising a rich tapestry of stories from across the globe and a special focus on the enduring ties between Poland and India. Scheduled from November 6 to 13, 2025, this year’s festival has chosen Poland as its spotlight country, setting the stage for a celebration of cinematic heritage, cross-cultural connections, and powerful narratives that have shaped the film industries of both nations.
According to The Times of India, the Polish segment at KIFF is set to be a highlight, offering five distinct categories: contemporary Polish films, works by renowned Polish filmmakers, a centenary tribute to the celebrated director Wojciech Jerzy Has, a showcase of Polish animation including short films, and a series of films illuminating the unique Indo-Polish connections that have blossomed over the last century. Festival organizers are in talks to host the international premiere of Michal Kwiecinski’s ‘Chopin, Chopin!’, a film that recently debuted in Poland and explores the life of the legendary composer Frederic Chopin in 1835 Paris. “We are aiming for an international premiere of the film at KIFF,” a festival source revealed, hinting at the excitement surrounding this event.
But the festival’s engagement with history and culture goes far deeper than new releases. Two documentaries stand out in their exploration of the ties between Poland and India. Tonmoy Das’s ‘Enlightened Soul: The Three Names of Umadevi’ tells the remarkable story of Wanda Dynowska, a Polish woman who became an integral part of India’s freedom movement. After supporting Poland’s independence in 1918, Dynowska moved to India in 1935, where she became known as Umadevi to Gandhi and Tenzin Chodon to the Tibetan community. She collaborated with Mahatma Gandhi, Pope John Paul II, and the Dalai Lama, translated the Bhagavad Gita into Polish, and lived in India until her death in 1971, returning to her homeland only twice during that period. Her life, as the documentary reveals, stands as a testament to the power of cross-cultural solidarity and the impact one individual can have across continents.
Meanwhile, Malgorzata Skiba’s ‘Chitraanjali: Stefan Norblin in India’ shines a light on the journey of Polish artist Stefan Norblin, who found refuge in India during World War II. Norblin spent six years working for the royal families of Morvi, Ramgarh, and Jodhpur, leaving behind a legacy of Art Deco masterpieces that bridged the aesthetics of Poland and India. His story, as recounted in the documentary, is a poignant reminder of how art can transcend borders, especially in times of turmoil.
The Polish presence at KIFF is further amplified by the exhibition ‘The Treasures of Krakow’, which promises to be a feast for cinephiles and history buffs alike. Presented in a digital format with 20 panels, the exhibition showcases 90 treasures—ranging from artworks and architectural landmarks to elements of Krakow’s intangible heritage. Organized into eight chronological sections, it traces the city’s evolution from its origins before 989, through its golden age, periods of decline, its role as a spiritual capital, and into the modern era after 1989. As a festival source put it, “Krakow is a city with an interesting connection with the film world and an exhibition on this city will be of interest to the cinephiles.”
Krakow’s significance extends beyond its artistic contributions. Once the seat of Polish kings and home to one of Europe’s oldest universities, the city is a cultural hub renowned for its poets, writers, and artists. It also serves as the international gateway to the Auschwitz-Birkenau State Museum, located at the site of the Nazi German Auschwitz concentration camp in Oswiecim. For film enthusiasts, Krakow holds a special place as the location of Oskar Schindler’s enamel factory, immortalized in Steven Spielberg’s ‘Schindler’s List’. The factory, which still stands today, houses two museums—one of which features the desk and stairs used in the film, offering visitors a tangible link to the cinematic retelling of Schindler’s efforts to save more than a thousand Polish-Jewish refugees during the Holocaust.
While the festival celebrates international connections, it also turns a discerning eye toward the stories closer to home. The Marathi literary and theatrical world has recently witnessed a revival of the autobiography ‘Saangtye Aika’ (‘Listen to my story’), the groundbreaking account of 1940s film actor and tamasha artiste Hansa Wadkar. As reported by Hindustan Times, Wadkar’s autobiography was the first Marathi book to expose the darker side of the film industry, challenging the glamorous façade to reveal the exploitation and misogyny faced by women, especially those from the ‘kalavantin’ community—a group often marginalized and misunderstood.
Wadkar’s life was anything but ordinary. She entered the world of cinema at just 12, was married at 15, and became a mother by 16. Her personal and professional journey was marked by tumultuous relationships and the constant struggle to balance societal expectations with her own aspirations. Despite being signed by prestigious studios like Prabhat Film Company and Bombay Talkies, Wadkar’s fortunes waxed and waned, and it was only with her last film, ‘Saangtye Aika’, that she found true recognition. The book, ghostwritten by journalists Arun Sadhu and Sudhakar Anavalikar, inspired a wave of similar autobiographies by other actresses and remains relevant decades after its publication.
Shyam Benegal famously adapted Wadkar’s story into the 1977 film ‘Bhumika’, starring Smita Patil, while in 2024, avant-garde Marathi director Vishwas Sohoni reinterpreted the tale for the stage. Using a single-person chorus narrative device, Sohoni cast noted actor Manasi Kulkarni as the protagonist. Reflecting on the enduring relevance of Wadkar’s story, Sohoni told Hindustan Times, “After barely skimming through the first 15 pages I realised the relevance of ‘Saangtye Aika’ to the present times – be it cinema, politics or the corporate sector. Women have to struggle to retain their dignity both at home and place of work.” Kulkarni, equally moved, said, “What I liked most about Hansabai is her ability to come to terms with life, rain or sunshine. She accepts things with courage and equanimity. Also, she watches her own life from a dignified distance.”
The recent stage adaptation was brought to life at the Keshav Gore Smarak Trust auditorium in Goregaon, Mumbai, drawing packed audiences and reigniting conversations about the challenges women face in the film industry. Wadkar’s story, and those of her contemporaries—from Durga Khote to Usha Kiran—underscore the resilience required to navigate a world often hostile to female ambition. As publisher Dilip Majgaokar explained, “Wadkar was happy when she bagged the Maharashtra government’s award for best book. She enjoyed her last ‘take’ of fame.”
As Kolkata prepares to welcome filmmakers, artists, and cinephiles from around the world, the 31st KIFF stands as a testament to the enduring power of storytelling—stories that bridge nations, challenge conventions, and remind us of the humanity at the heart of cinema.
