At the Independent Waterfront Film Festival 2025, Rashmi Lamba moderated a compelling conversation on co-productions, legal frameworks, insurance and global storytelling with experts shaping the future of Indian independent cinema.

Independent cinema has never lacked imagination. What it has often lacked is access—to finance, legal knowledge, international partnerships and the professional infrastructure that allows a powerful story to reach audiences across the world. That became the central theme of an insightful panel discussion at the Waterfront Indie Film Festival (WIFF) Mumbai 2025, where Rashmi Lamba brought together legal expert Jamshed Mistry, insurance specialist Maneck Dastur, and producers Gayathiri Guliani and Arfi Lamba to explore the changing landscape of global filmmaking.  

Rather than celebrating box-office success, the conversation focused on something more valuable: how independent filmmakers can build sustainable international careers through collaboration, preparation and informed decision-making.

Local stories, global audiences

Opening the session, Lamba introduced the idea of “glocal” cinema—stories deeply rooted in local culture but capable of connecting with audiences everywhere. As streaming platforms and international festivals continue to blur geographical boundaries, Indian filmmakers have an unprecedented opportunity to create work that speaks beyond language.  

For Gayathiri Guliani, this shift is already visible. With 27 years of experience in international distribution, including the landmark release of 3 Idiots in China, she described how Indian cinema has evolved from exporting films for diaspora audiences to becoming an active participant in global storytelling. Films are no longer simply travelling abroad—they are being created with international collaboration in mind.

Guliani believes the real breakthrough lies in representation. Independent producers often pour everything into making a film but remain uncertain about festivals, sales agents and international distribution. A film, she observed, must find its rightful home, and that journey requires as much strategy as creativity.  

Co-productions are creative partnerships

Producer Arfi Lamba offered a refreshing perspective on international co-productions. Drawing from his experience with The Road to Mandalay and several European and Asian collaborations, he challenged the assumption that treaties exist merely to unlock rebates.

His advice to emerging filmmakers was straightforward: never pursue a co-production simply to satisfy a percentage requirement. The partnership must serve the film creatively. Whether it is a cinematographer, composer, post-production facility or cultural perspective, every collaborator should strengthen the story rather than complicate the budget.

Lamba also reflected on how dramatically India’s position has changed. There was a time when independent filmmakers approached Europe seeking validation and funding with little negotiating power. Today, India brings incentives, skilled crews and compelling stories to the table, allowing filmmakers to negotiate as equals rather than dependents.  

Understanding the legal foundation

Legal expert Jamshed Mistry reminded the audience that international filmmaking begins long before production. Official co-production treaties, he explained, originated through UNESCO’s vision of cultural collaboration, enabling countries to recognise qualifying films as national productions in both territories.

That distinction carries enormous benefits. Treaty-backed productions gain access to tax incentives, public funding opportunities and government support unavailable to ordinary commercial partnerships. Mistry carefully differentiated an official co-production from a private co-venture, emphasising that copyright ownership, financial participation and contractual clarity must be established from the outset.  

Equally important was his warning about jurisdiction. Attractive foreign arbitration clauses may appear sophisticated, but they can become prohibitively expensive for independent producers. Strong legal agreements, he argued, should protect filmmakers—not intimidate them.

Why insurance matters from day one

If Mistry spoke about prevention through contracts, Maneck Dastur addressed protection through insurance.

Too often, producers consider insurance only after a crisis occurs. Dastur described film insurance as a customised contract capable of covering accidents, weather disruptions, intellectual property disputes, cast injuries, legal liabilities and distribution challenges. Every production carries risks; the question is whether those risks have been anticipated.

A particularly engaging moment came when actor Tarunjeet asked whether performers are genuinely protected during dangerous shoots. The discussion expanded into workplace safety, medical cover and the responsibility producers carry toward artists and crew, reinforcing the idea that professionalism begins with safeguarding people.

For independent cinema, insurance is not simply a financial product—it is a statement that the project is being built responsibly.

A blueprint for independent filmmakers

The panel concluded with Rashmi Lamba reflecting on her experience producing in Canada, where lawyers, insurers, broadcasters and banks work within an integrated ecosystem. That collaborative model, she suggested, is something India’s independent sector should aspire to build—a network where creative ambition is supported by professional expertise rather than left to chance.

The future of independent cinema will not be defined solely by extraordinary films. It will be defined by extraordinary partnerships—and by filmmakers who understand that creativity and craftsmanship must be matched by legal wisdom, financial resilience and a truly international outlook.

Watch the complete panel discussion below.