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What did Heredia mean by “exponentially”?
In a 2024 interview with Scroll.in, filmmaker and curator Shai Heredia said, “The number of Indian practitioners making this kind of work, which doesn’t fit straight-up into a genre format, has increased exponentially.” She pointed to about 150–200 entries from India for Experimenta’s call for work made from 2017 onward.
The count is a useful indication of the submissions reaching Experimenta, but it does not establish how many experimental filmmakers work in India or how quickly their number has changed. It is Heredia’s observation, not a census or a quantified time series. A separate 2024 interview put the international open-call total at about 400 films received, of which 28 were selected; that broader figure describes a different call scope and should not be confused with the India entries.
What counts as experimental film at Experimenta?
Heredia says she does not apply a single rule to decide whether a film is experimental: “I’ve never actually had a definition for experimental film.” Instead, Experimenta makes room for work that sits between familiar categories such as fiction and documentary, and for moving-image practices that do not fit conventional genre formats. Its curatorial framework attends to form, politics, craft, and artists’ responses to larger social and political moments.
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That openness reflects Experimenta’s broader remit. Founded by Heredia in 2003, it describes itself as an artist-run platform and moving-image art biennial working across celluloid and digital, documentary and fiction, and historical and contemporary practices. Its aim is to create a context for experimental film in India rather than enforce a narrow definition of it. Experimenta’s About page outlines that history and approach.
What did Experimenta 2024 prioritize?
The 2024 programme gave particular attention to films from Asia and Southeast Asia, the Global South, and feminist nonfiction. “One Way or Another,” co-curated by Heredia and Erika Balsom, brought together feminist nonfiction from varied contexts. A forum explored experimental nonfiction and its social and political dimensions.
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The programme put historical and contemporary work in conversation. Its listed films included Nalini Malani’s Onanism (1969) and Nilita Vachani’s Eyes of Stone (1990), alongside Praagya Arya and Dimple Mishra’s Home and Hatred (2024), Malik Irtiza’s Thokei (2024), and Shambhavi Kaul’s Slow Shift (2023). The official Experimenta 2024 programme lists the films and events.
The closing title was Prem Kapoor’s Badnam Basti, which Heredia described as having been out of circulation for decades. The festival programme calls it Kapoor’s debut and says it is considered India’s first queer film; that “first” designation is the programme’s historical framing, rather than an uncontested label.
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What does Heredia think has changed?
Heredia linked the growth she sees to broader access to learning and viewing. In her account, practitioners can learn independently or in spaces beyond a single institution; exposure to more work, online platforms, film clubs, and the streaming context during Covid also helped shape the landscape. These are her explanations for what she has observed, not independently quantified causes.
Experimenta’s model is built around shared viewing and critical exchange rather than a film market. Heredia described its orientation as community-centered, not organized around maximizing scale or distribution. A separate interview captured her view this way: “Experimental film is not about the market, it’s about community, politics, art, culture.”
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How was the festival supported, and where was it held?
Heredia described funding as very limited and said, “I have one steady supporter, the Goethe Institut.” She also said Experimenta had no film market and estimated that 800–1,000 people attended across five days, describing them as the festival’s regular Bengaluru audience. These are her estimates and account of the event, not an independent audit of funding or attendance.
The 2024 programme took place at Goethe-Institut / Max Mueller Bhavan in Bengaluru and listed free entry. Those details apply to the December 2024 event, not to current programming. Heredia’s remark, “Experimenta has never been about scale,” helps explain why the festival’s value is better understood through its curatorial and community role than by treating its attendance figure as a measure of national reach.
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Further reading on Indian experimental cinema
For readers interested in the histories behind the programme’s archival and political strands, Experimenta’s Texts page lists One Film at a Time, a 2024 anthology edited by Shai Heredia on archiving, curation, restoration, and histories of Indian experimental and political cinema. The page identifies Arsenal – Institut für Film und Videokunst e.V. as publisher and says the book is available through Pressworks with shipping only in India.
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