It is time for the Indian touch! At Namaste Mifa, six incredible projects took centre stage during the prestigious India Partner Pitch, taking place at MIFA (International Animation Film Market), during the Annecy International Animation Film Festival.
During the session, eight creators brought to life six fresh stories that reflected the energy and diversity of modern India. While these thought-provoking tales are contemporary, their hearts are grounded in the traditions and rhythms that have shaped the country for centuries.
These projects emerged at the International Mifa Campus held at AniMela – the animation, VFX, gaming, comics and XR festival held in Mumbai, India in partnership with Annecy International Animation Film Festival. Under the mentorship of experts like Reza Riahi, Johanna Goldschmidt, and Delphine Nicolini, they prepared to showcase their work at Namaste Mifa.
Namaste Mifa, co-partnered by Zebu Animation Studios, Assemblage Entertainment, Institut Francais India and Ambassade De France En Inde, was held today, on 11 June, from 3:30 to 4:45 pm at Haendel Room, Impérial Palace Hotel. Below are the projects:
Work in Progress
By Sneha Das and Subarna Dash
- Type of Project: Documentary feature, mixed media (Stop motion and 2D animation)
- Credits: Sneha Das, Subarna Dash and Mark D’Rozario (animator)
Synopsis: From bleached underwear to mommy issues, Work in Progress is an animated documentary about the journey through the wonderfully messy world of womanhood. This film takes us through six chapters of hilarious, relatable, and sometimes awkward stories shared by close friends navigating life as young urban Indian women in their mid-late 20s. Over the course of 70 minutes, this film explores the journey of self-discovery, body image, and relationships during this pivotal stage of life.
“The themes we explore in Work in Progress are taboo for many,” said Sneha Das. “While India has certainly progressed in many ways, women speaking openly and unapologetically about their personal experiences and feelings can still be uncomfortable for a large section of the audience and, by extension, for potential backers.”
Another key challenge was securing funding for the film in the country. Shared Subarna Dash, “Mixed media animation, especially at a feature-length scale, is still relatively new in India, and not something that easily fits into conventional funding frameworks. A project like this requires both time and a significant budget, which can be difficult to mobilise, particularly as we are still early in our filmmaking journey.”
At AniMela 2025, in addition to learning how to pitch, both Das and Dash gained deeper insights into their own project, discovering possibilities they hadn’t considered before. “What made the experience meaningful was that our mentors extended their support beyond the workshop, making it feel like we had gained long-term guidance, and not just feedback for a moment,” revealed Dash.
My First Kiss
By Shrobontika Dasgupta
- Type of Project: Short film, 2D digital animation, hand drawn paper animation
- Credits: Shrobontika Dasgupta
Synopsis: My First Kiss is a story of Little Rani and her imaginary friend Mr. Chicken. They go on adventures together in Little Rani’s big house. However, things start to change when Little Rani starts to take art classes. The art teacher touches her in ways no adult has touched before. This story is about navigating the confusion, fear, silence and trauma that a child goes through when sexually abused, and about her healing journey.
My First Kiss is Shrobontika Dasgupta’s personal story which she took a couple of years and bravery to pen down. “I always wondered, why do most Indian families choose to not talk about child abuse, especially when the perpetrators are sometimes family members?”
Through her feature film, she intends to evoke conversations on good touch and bad touch. “When I first started sharing my story with people, I realised that so many people have gone through the same in their childhood,” she noted. Through this feature film, she aims to raise awareness about the environments and individuals that surround children, with the hope of helping build a safer, more nurturing childhood for children everywhere.
Daak
By Rahul Chakraborty
- Type of Project: Short film, 2D hand drawn animation
- Credits: Rahul Chakraborty, Gunjan, Akash Tapadar
Synopsis: In the Sundarbans, Dukhe, a 15-year-old boy, embarks on a journey to find rare honey to save his ailing father. Unknowingly, he leads a group of hunters to Dakshin Ray, the forest’s guardian—a powerful, shapeshifting tiger deity. The hunters sever Dakshin Ray’s tail, his only weak spot, forcing him to retreat to his realm. In an attempt to protect the tiger, Dukhe is pulled into the mystical realm, where he learns that without its tail, Dakshin Ray will perish, and the forest will fall into ruin. To save both, the wounded deity grants Dukhe the strength of a hundred tigers. Armed with this newfound power, Dukhe battles the hunters, retrieves the tail, and restores balance to the forest.
Daak is an attempt to highlight the importance of forest conservation, and at the same time, acknowledge the human need for resources, striving to balance consumption with sustainability. The story draws inspiration from the folktales of Bonobibi, Dakshin Ray, and poetic works of Tulsidas and Ray Mangal Kavya. “Through extensive study of literature and films on the subject, I developed a perspective that moves beyond absolute distinctions, embracing the complexities of coexistence,” said Chakraborty. “The legends of Bonobibi and Dakshin Ray embody this philosophy, reflecting the harmony of yin and yang.”
He added, “Our team has received great support from the mentors at AniMela, who helped us in tightening the pitch, structuring the story and enhancing the visuals.”
Patangein
By Arya Pandey
- Type of Project: Short film, 2D digital animation
- Credits: Arya Pandey, Parth Kelkar and Studio Disco Jetpack (producer)
Synopsis: Patangein is the story of Zeeshan, a young barber in the Indian city of Lucknow, grappling with the loss of his brother Zubair. Haunted by memories tied to kite flying, he withdraws from those around him – especially his spirited niece Anam, who shares his grief. When a moment forces Zeeshan to confront his fears, he begins to see that healing lies not in forgetting, but in passing love forward.
Arya Pandey’s short film is inspired by the bond his Nana (maternal grandfather) shared with his own elder brother. “Patangein is an attempt to encapsulate my Nana’s childhood stories, but I also wish to dedicate the film to anyone who has lost a dear one,” said Pandey. Growing up in Lucknow, Pandey thinks he actually understood how much the city means to him only after he left for college. “This city is a home to numerous stories and storytellers, but not many people talk about it,” he shared. And this film is his attempt to tell one such story.
M.O.M. – Ma On a Mission
By Rituparna Sarkar and Sruti Menon
- Type of Project: Animated series, 2D animation
- Credits: Rituparna Sarkar, Sruti Menon, Joeanna Rebello Fernandes (story), Visual Sarkarsm (producer), Sruti Menon, Rituparna Sarkar, Arnab Dhar, Riddhi Gad, Rucha Mayekar and Kalp Sanghvi (art and animation).
Synopsis: M.O.M – Ma On a Mission follows an Indian mother and the identity crisis she is going through. The protagonist Tara Menon has super powers, but has no intention of being a superhero. Being an overprotective Bengali mother of a teen and a toddler, married to a tech loving, gadget freak Malayali husband aka Captain Chaos – Tara would rather use her powers around the house to be a better mom. But when these powers are exposed on social media, Tara’s worst nightmare comes true. When her son is kidnapped and held captive in an alternate digital dimension, she has to overcome her internal struggle and step into a world that she is not prepared for.
Rituparna Sarkar and Sruti Menon wanted to tell a story about real and relatable urban Indian characters, the kind they grew up with. “The role of the modern Indian mother is a complex one, and one that popular Hindi cinema depiction often doesn’t do justice to,” noted Sarkar. They bridge this gap in M.O.M – Ma On a Mission, which takes inspiration from strong mother figures they have known.
Menon added, “Animation festivals, big or small, have a unique energy that’s incredibly uplifting. So to attend one of the biggest, surrounded by amazing artists and creatives from around the world, is exciting. And pitching? It’s nerve-wracking — sharing your story with so many people always is. But it’s also a real honour, especially to present a story rooted in India on such a global stage.”
Penumbra
By Taher Kapadia
- Type of Project: Animated series, 2D animation
- Credits: Taher Kapadiya and Tejaswat Kadam
Synopsis: In the realm of Penumbra, superstitions are no mere tales; they manifest as tangible horrors, fueled by unyielding belief. As belief intensifies, these spectral entities awaken, transforming into embodiments of humanity’s darkest fears. Fear spreads and strengthens the belief, giving birth to a self-perpetuating cycle. Until recently, these spirits lay dormant, their impact limited by their invisibility to common folk. But now, their powers surge exponentially, sowing widespread dread. An anonymous and malevolent group of people has learnt to wield these supernatural forces, manipulating them like puppeteers pulling strings of mass hysteria to serve their sinister desires. The air itself becomes charged with trepidation, and darkness reigns. Amidst this impending doom, Manohar and his council of the spirit hunters shoulder the weight of averting mass fear. Their mission: to capture and conceal these apparitions, shielding them from the public gaze. With determination, they ensnare the very spirits themselves.
Kapadia mentioned, “Giant monsters, bizarre demons, strange heroes there’s something timelessly entertaining about that. And honestly, who doesn’t want to see our heroes rise up and take them down? A major hurdle for us was to build a consistent story and connect the narrative threads in a way that is engaging. That is where the mentorship at Animela helped.”
“On the first day of our workshop, we were all over the place with our pitch and story. It was messy, chaotic, even a bit overwhelming. But our mentors helped us find our footing. They guided us on how to tighten the narrative, make the story more digestible, and most importantly, on how to pitch an entire show in just eight minutes while making it fun,” he added.
