At WIFF Mumbai 2025, a dynamic masterclass in collaboration with the Indo-Canadian Business Council (ICBC) unpacked the power of international co-productions and co-ventures as the future of independent cinema — blending creativity, commerce, and collaboration.

The Masterclass on International Co-Productions and Co-Ventures at WIFF Mumbai 2025, held in collaboration with the Indo-Canadian Business Council (ICBC), brought together industry leaders like Gayathiri Guliani, Arfi Laamba, Jamshed Mistry, and Maneck Dastur, moderated by Rashmi Lamba. The session explored the future of independent filmmaking through global partnerships, emphasizing tax incentives, film insurance, legal frameworks, and creative collaboration. With case studies like Demon Hunters and Masala Boba, it highlighted how co-productions can redefine storytelling, expand markets, and empower filmmakers worldwide.

Global Partnerships, Local Impact

The Waterfront Indie Film Festival (WIFF) Mumbai 2025, held in October, was a vibrant confluence of creativity, purpose, and progress. Among its many conversations, the Masterclass on International Co-Productions and Co-Ventures, presented in collaboration with the Indo-Canadian Business Council (ICBC), stood out as one of the most insightful and well-attended sessions of the festival. Moderated by Rashmi Lamba, Director of Rushes Inc. and India Council Chair at the Geena Davis Institute on Gender in Media, the panel brought together leading producers, legal experts, and insurance specialists — each illuminating the pathways through which filmmakers can collaborate globally while maintaining artistic integrity and financial viability.

Setting the tone, Rashmi invited the audience to “make it interactive,” encouraging participation from emerging filmmakers, producers, and students eager to learn about sustainable models for independent production. The discussion revolved around how co-productions are not merely artistic collaborations but strategic alliances — merging financial structures, creative resources, and market access to tell stories that transcend borders.

“We are living in an interconnected world where stories no longer belong to one country or culture; they travel — and that travel needs structure,” Lamba emphasized, framing the session as both an inspiration and a guidebook for the future of filmmaking.

The Business and Creative Case for Co-Productions

Gayathiri Guliani, CEO of Kleos Entertainment Group, opened the discussion with a powerful overview of India’s position in the global film ecosystem. With over 26 years of experience, having collaborated with giants like Sony Pictures, Disney Star, and Lionsgate, Gayathiri offered an insider’s perspective on how international co-productions elevate Indian storytelling to a truly global scale.

“Audiences are borderless today. If content can emotionally connect, it will find its way into any market,” she said, citing Demon Hunters — the first Taiwan–India co-production under her banner — which premiered to international acclaim at Cannes 2024. She also announced Masala Boba, a groundbreaking India–Taiwan–Jordan co-production described as “a cultural handshake between nations.” 

Arfi Laamba, co-founder of Bombay Berlin Film Productions, expanded on the business infrastructure supporting such partnerships. A producer and actor known for projects like LOEV and The Road to Mandalay, Arfi highlighted how Indian tax incentives and the streamlined India Cine Hub have made the country increasingly attractive to international crews.

“What was once seen as red tape has transformed into an efficient one-window system. International productions now find India both affordable and reliable,” he said, describing his experience service-producing a German film for Neopol Films and consulting on a Canadian film shot in Rajasthan.

Arfi also spoke about the importance of balancing creative and commercial objectives. “Co-productions give us the opportunity to bring together authentic stories with scalable financial structures — it’s art meeting accountability,” he added.

Legal Frameworks and Insurance – The Pillars of Protection

Jamshed Mistry, Founder of the International Legal Alliance and a key figure in facilitating the Indo-Canadian Co-Production Treaty, offered invaluable clarity on the legal dimensions of international collaboration.

He drew attention to the differences between official co-productions and co-ventures, emphasizing how official co-productions enjoy governmental benefits, including tax relief and access to funding from both participating nations. “An official co-production is recognized as a domestic film in all participating countries — that’s the biggest advantage,” Mistry explained.

On jurisdictional matters, he highlighted that clear contractual frameworks and agreed-upon arbitration jurisdictions are essential to prevent disputes. “A well-drafted contract is as important as a good script,” he quipped, drawing smiles from the audience.

Taking the conversation into a more pragmatic realm, Maneck Dastur, Executive Vice President of K.M. Dastur Reinsurance Brokers Pvt. Ltd., underscored the critical role of film insurance. In a country where producers often rely on faith more than foresight, Dastur’s insights were an eye-opener.

“Insurance is not an afterthought. It’s your first layer of protection — for cast, crew, equipment, and intellectual property,” he asserted. Detailing how insurance policies operate across jurisdictions, Dastur explained how global productions must ensure coverage validity in all participating countries.

Responding to a question from actor Taranjit Kaur, who asked about insurance coverage for actors performing dangerous sequences, Dastur reaffirmed that performers should always be insured under production policies, “not as a courtesy, but as a contractual right.” 

Case Studies in Collaboration

Both Arfi and Gayathiri offered case studies that brought the discussion to life. Arfi shared experiences from his recent Indo-German and Indo-Canadian ventures — elaborating on the complex yet rewarding coordination between crews across continents.

Gayathiri followed with trailers of Demon Hunters and Masala Boba, illustrating how bold partnerships can produce cinematic experiences that are globally resonant yet deeply rooted in local identities. “It’s about setting new standards — not just creatively, but operationally,” she said.

When the discussion turned to distribution, both Arfi and Gayathiri outlined how global releases are now strategically segmented: theatrical premieres in primary markets, followed by OTT releases customized per territory. 

Adding a legal perspective, Mistry stressed the importance of securing IP rights for each distribution channel, while Dastur reiterated that insurance must also extend to post-production and digital exploitation rights — a dimension often overlooked by independent filmmakers.

The Future of Filmmaking: Shared Vision, Shared Value

The Q&A session reflected the audience’s keen interest in understanding how these models could apply to their own projects. Emerging filmmakers shared their appreciation for the panel’s candour and practical advice. “It’s the kind of conversation that turns aspiration into action,” said one participant. 

In her closing remarks, Rashmi Lamba summarized the essence of the discussion: “The future of cinema is collaborative. Co-productions are not just financial mechanisms; they are bridges — connecting nations, voices, and visions.”

As WIFF Mumbai 2025 continues to cement its place as a hub for independent creators, this masterclass exemplified the festival’s commitment to fostering dialogue, education, and empowerment.

In partnership with institutions like the ICBC, WIFF is shaping not only conversations but also opportunities — proving that the future of independent cinema lies in global cooperation built on trust, transparency, and shared passion.