New Indian cinema based on the materials of the film festival
One cannot help but regret that Chinese filmmakers, artificially placed by the Chinese government in conditions of complete isolation from world democratic culture, do not take part in this show of progressive cinema from three continents. All people of goodwill, everyone who loves the world, who thinks about the future of the planet, are concerned about the current course of the Beijing leadership, which has led to the rupture of two great powers: the Soviet Union and China.

Cooperation, mutual understanding, respect and sincere interest in each other - the peoples of the Earth want to build their relations on these principles, these principles underlie the creative communication of cultural workers from different countries.

These principles are developed and strengthened by the unique forum of filmmakers of three continents in Tashkent, the forum , the authority and importance of which grows from festival to festival.

Based on the materials of the 5th Tashkent Film Festival. At the last Tashkent Film Festival, like all previous years, Indian cinema was presented extensively and voluminously. In addition to Gyulzar's "Book of Life" included in the official screening, many other films were shown on the screens of city cinemas, at the film market, the festival stands were full of colorful photos from films, portraits of the patented handsome heroes Rishi and Shashi Kapurov, Amitabh Bachchan and Rajesh Khanna; the heroes fervently hugged the hair-eyed beauties, rode on horses, throwing up rifle muzzles, dashing blows knocked knives out of the villains hands, sang and danced, holding the guitar to their chest. And yet, although it was precisely this kind of cinema that still quantitatively dominated the Indian program, this time it was already qualitatively different from the program of previous years.

Already at the previous film festivals, Tashkent and Moscow, during the weeks of Indian cinema, we could get acquainted with films of a different direction - not leading away into the sweet world of dreams with its ideally beautiful heroes and fatal passions, but telling the truth about the life of the Indian people, about the feelings and hopes of ordinary people, about their everyday problems, about the struggle they are waging for its present and future.

From these films, at first isolated, drowning in a loud stream of commercial production, a new cinematography of India gradually matured - cinematography is truly artistic and national, bold, passionate, which has already given many films and names worthy of the closest interest and attention. Satyajit Ray, rightfully considered the patriarch of the "new cinema" of India, Mrinal Sen, Shyam Benegal, Girish Karnad, M.S. Sat-khyo, B.V. Karant, Mani Kaul, Basu Bhattacharya, Basu Chatterjee, Kumar Shahani - these and quite a few other directors are known far beyond India today.

The current Indian program in Tashkent has clearly shown that the films of the “new cinema” in it are not a prestigious appendage, but the backbone that forms the program. And although these tapes had more than modest advertising, and sometimes they were completely absent, although they could not and did not strive to boast of a staged scale and chic, they had not only moral and artistic advantages on their side - now they were giving battle to commercial cinema on the very the main spectator territory for him, and if they did not always emerge from it as winners, then in any case they turned out to be worthy rivals.

Films presented on the screens of Tashkent, the new cinematography of India convincingly stated that today's sphere of his habitat is not a platform for a laboratory experiment, not cinematic halls, but an ever-expanding audience.