“Every viewer sees the same scene differently.” This thought, shared by acclaimed cinematographer Koustabh Mukherjee, emerged as one of the key takeaways from the July Chapter of Talk Cinema On The Floor (TCOTF). Veteran cinephile and cinema scholar Sandeep Pahwa, meanwhile, offered a fascinating view of how Indian audiences and cinema-going culture have changed—from the era of single-screen theatres to today’s OTT age. With four generations of cinema lovers, two distinct yet complementary sessions, lively audience participation and informal conversations that continued over tea, the July Chapter became one of TCOTF’s most memorable gatherings so far.
“Every viewer sees their own film…”
Imagine a hundred people sitting in the same room and watching the same film. Will all of them walk out having seen exactly the same film?
“Absolutely not.”
This was the thought with which Koustabh Mukherjee opened his session. A film plays the same way on the screen, he explained, but every viewer watches and interprets it through their own emotions, experiences and understanding of life. And that, perhaps, is one of the most beautiful things about cinema.
That thought also set the tone for the July Chapter of Talk Cinema On The Floor (TCOTF). It was not simply an event where people came together to discuss films. It became an exploration of a larger question: How does cinema affect us? How do we read and interpret it? And how are our ways of watching and experiencing cinema changing with time?
A Culture of Cinema Built Through Conversation
Held on 1 August 2026 at the Indian Institute of Creative Skills (IICS), Lajpat Nagar, New Delhi, the July Chapter of TCOTF was organised by the New Delhi Film Foundation (NDFF) with the support of the Sri Aurobindo Centre for Arts & Creativity (SACAC) and the Media & Entertainment Skills Council (MESC).
Filmmakers, actors, writers, cinematographers, media professionals, researchers, students and cinema enthusiasts participated in the programme.
One of TCOTF’s biggest strengths is that there is no real wall between the stage and the audience. Asking a question is considered as important as giving an answer. That is why every chapter brings together people from different professions, backgrounds and age groups to sit together and talk about cinema.
9. Vividha Tuteja 10. Jyoti Gupta 11. Shailendra Pandey 12. Ved Kumar Sharma
NDFF’s Vision: Not Just Films, but a Film Culture
Opening the programme, Ashish K. Singh, Founder and General Secretary of the New Delhi Film Foundation, said that NDFF’s effort is not limited to screening films or making films. The Foundation aims to create an environment where people can watch cinema, talk about it, learn from it and move towards making new cinema together.
He said that good films are not created by the camera alone. Behind them are the ability to understand society, sensitivity towards people and the willingness to keep learning.
Referring to NDFF’s recent participation in PRITHVI – The Palaeoscience Film Festival of India as a Film Partner, as well as its participation in a national panel discussion, Singh said that the Foundation is increasingly becoming part of platforms where cinema can create new conversations around science, environment and society.
He also shared that NDFF’s Make Cinema Campaign has now entered its next phase and that the first short film under the campaign will soon move into production.
It All Began with a Conversation
As per the TCOTF format, the programme began with the Warm-up Session. It was not merely an introduction round. Each participant introduced themselves and also shared how they looked at cinema in the present times.
It soon became clear that nobody had come merely to be a “spectator”. Everyone had brought along an experience, a point of view and a question.
That is precisely what makes the Warm-up Session an important part of TCOTF. It helps turn an audience into a community of participants right from the beginning.
What Does the Camera See… and What Does the Audience Feel?
The first major session of the day was Craft & Crew, featuring acclaimed cinematographer Koustabh Mukherjee, who conducted an engaging masterclass on Visual Storytelling & Visual Communication.
Mukherjee explained that filmmaking is not simply about creating beautiful images. The real challenge is to make the camera communicate what the filmmaker wants the audience to feel.
Using scenes from Children of Men, Mission: Impossible 2 and his own Marathi film Toda, he demonstrated how one human emotion—fear—can be expressed in very different cinematic ways.
According to him, the impact of a scene is not determined by camera technique alone. The time, place, characters, context of the scene and the viewer’s own experiences all contribute to the meaning that a viewer takes away from it.
He also used the idea of sensuality to explain how viewers can interpret similar visual elements very differently when the context changes.
Observation: A Filmmaker’s Most Important Tool
Mukherjee had an important message for young filmmakers: becoming a good filmmaker does not begin with buying a camera. It begins with observation.
How carefully do you observe the world around you? How do people walk? How do they remain silent? How do they react when they are afraid? How do they express happiness?
All of these observations eventually find their way into a filmmaker’s frame.
He also spoke at length about the importance of Visual Writing while developing a screenplay. A single situation, he explained, can often be filmed in five different ways—and each approach can create a very different impact on the audience.
The interactive nature of the session continued as participants asked questions about independent filmmaking, screenwriting, film festivals, the changing direction of Indian cinema and opportunities available to young filmmakers. Mukherjee responded to the questions in detail, making the session particularly relevant for emerging filmmakers and students.
When Single-Screen Theatres Were More Than Just Theatres
The second major session was the Spotlight Session, featuring veteran cinephile and cinema scholar Sandeep Pahwa.
His conversation was not simply a journey into the past. Rather, he used his experiences to look at how audiences have changed over the past six decades, how cinema has changed, and how the experience of watching a film has changed along with them.
Pahwa shared fascinating stories about Delhi’s cinema culture, the era of single-screen theatres, first-day-first-show experiences, house-full boards, buying tickets in black and the collective experience of watching films in those days.
His stories made it clear that a cinema hall was once much more than a place where a film was screened. It was often a social and cultural meeting point.
A Story That Became Part of Indian Cinema History
Pahwa also shared a remarkable story from his own family history—one that offered a glimpse into an important chapter of Indian cinema.
He recalled how his father, Basant Pahwa, made his first film as a producer, Bahu, and gave his neighbour and friend Shakti Samanta his first opportunity as a director. Samanta went on to become one of the most successful filmmakers in Indian cinema. Basant Pahwa himself played the lead role in the film.
Pahwa also shared memories associated with the releases of landmark films such as Guide, Anand and Sholay.
One particularly interesting story was about Sholay. Living in Faridabad at the time, Pahwa travelled all the way to Karnal to watch the film because it had released there earlier.
He also recalled several interesting experiences associated with Delhi’s iconic Regal Talkies and Chanakya.
Have the Audiences Really Changed?
Pahwa observed that cinema once served as a shared cultural experience for people across social classes. Today, the segmentation of audiences is much more visible. Everything has changed—from what people choose to watch to what they can afford to watch.
But, according to him, one thing has not changed:
The human desire to hear a good story.
Pahwa also shared that he personally continues to enjoy watching films in cinema halls and is still willing to travel long distances for the experience.
Four Generations… One Conversation
9. Vaibhav Maitreya 10. Tanvi Tripathi 11. Jenisha 12. Krish Gupta
One of the most distinctive features of the July Chapter was the presence of four generations of cinema lovers, ranging from around 12 to 80 years of age.
Veteran businessman Anup Gupta shared a childhood memory of seeing the famous Sheesh Mahal set of Mughal-e-Azam in Mumbai.
Asha Batra, founder of Cinemazi, an organisation working towards preserving India’s film heritage, asked Pahwa several interesting questions about the cinema of that era.
Film scholar Vibha Jha, who travelled from Pune, engaged specifically with Gen Z participants to understand how the younger generation looks at cinema today and how the digital age has changed its viewing habits. She also emphasised the need to create greater dialogue and participation with Gen Z.
Puneet Sharma, an undergraduate student from Delhi University, shared his thoughts on creative ways of connecting cinema and society.
Another interesting presence at the event was Dr Veena Sethi, niece of celebrated actor Balraj Sahni. A former Professor of English at Delhi University’s Deshbandhu College, Dr Sethi currently works through an NGO for marginalised communities in Uttarakhand. She had also produced and directed Basanti, one of the early television serials for Doordarshan, in 1985.
Delhi’s well-known theatre personality Sarita Vohra was also present. She is the sister of noted creative director Suresh Malik, associated with the iconic Mile Sur Mera Tumhara, and had herself sung in three languages in the landmark audiovisual.
With such varied voices and experiences in the same space, TCOTF moved beyond being an event and became a genuine cultural conversation between four generations.
This Is What TCOTF Stands For
Another special moment during the session was the screening of the trailer of Sholay. The lights were dimmed and everyone watched it together, much like an audience sitting inside a cinema hall. It brought back a glimpse of the collective experience of watching cinema—something that was once one of the most cherished aspects of going to the movies. A clip posted on X by Film Scholar Vibha Jha
The reference to Sholay came up when film scholar Jenisha pointed out that August also marks the release of one of Indian cinema’s timeless classics, Mughal-e-Azam, which released on 5 August 1960. It was then noted that another landmark film, Sholay, was also released in the same month—on 15 August 1975.
By the end of the session, it was clear that the biggest achievement of the July Chapter was not simply that two good sessions had taken place.
The real achievement was that people of different ages, professions and experiences spent several hours talking about cinema in a serious yet informal and open manner.
That is what Talk Cinema On The Floor stands for.
Here, cinema is discussed—but not only films.
The conversation is also about society, culture, technology, audiences, stories and the people who believe that good cinema is not only something to be made; it is something to be understood.
With this belief, the New Delhi Film Foundation will continue to create platforms where people can Watch Cinema, Talk Cinema, Learn Cinema and Make Cinema—Together.
The Conversation Continues Over Tea
There is a saying that “A film ends on the screen… cinema begins in conversation.”
It is through these conversations that different interpretations of cinema come together on a common platform, giving each perspective a little more depth. Such conversations also help build bonds among people who share a passion for cinema.
And often, a good conversation can be the beginning of a good collaboration.
This is an important part of the foundation of TCOTF—and the Networking Tea after every session serves much the same purpose.
Participants, guests, students and creative professionals continued their informal conversations over tea. New introductions were made, possible collaborations were discussed, and the growing community of cinema lovers, filmmakers, students, photographers, writers and creators across Delhi NCR took another step forward.
One Year of TCOTF, A New Decade for NDFF
With the July Chapter, Talk Cinema On The Floor completed its 12th monthly gathering.
At the same time, the New Delhi Film Foundation entered the 10th year of its journey in June.
These are not merely milestones on a calendar. They reaffirm the belief that if a consistent and open platform is created for serious conversations around cinema, a strong creative community can gradually take shape.
NDFF remains committed to strengthening film culture across Delhi and North India through initiatives such as Cinema of India, Make Cinema, thematic workshops, film screenings, creative conversations and institutional partnerships.
The Foundation believes that cinema is not merely entertainment. It is an important force that connects society, culture, education and the creative economy.
The People and Institutions Behind the Initiative
The success of the July Chapter was supported by SACAC and its Founder Daljeet Wadhwa, Indian Institute of Creative Skills (IICS) and Media & Entertainment Skills Council (MESC).
From IICS, COO Pooja Arora has played an important role in taking forward the vision of Talk Cinema On The Floor, while Roshni Sehgal represented IICS in the organisation of the event. Prishita Tiwari and Pushpa Verma also took on important responsibilities for the programme.
The event was moderated by Ashish K. Singh. From NDFF, the primary organisational responsibilities were handled by Vaibhav Maitreya and Harinder Kumar. Krish Gupta looked after the technical and production responsibilities, while Shubhanav Jain played an important role in event coverage.
NDFF plans to take forward its efforts in the coming months through Cinema of India, the Make Cinema Campaign, thematic workshops, film screenings, creative networking programmes and collaborations with institutions and industry partners.
The larger aim is to strengthen film culture in the capital and give further momentum to the Orange Economy.
And at the heart of all these efforts remains one simple belief:
Cinema becomes richer when we watch it together, talk about it together, learn from it together—and eventually, make it together.
Explore More from NDFF
Discover more initiatives by the New Delhi Film Foundation:
• Talk Cinema On The Floor (TCOTF) – Monthly creative conversations on cinema.
• Make Cinema – Encouraging aspiring filmmakers to create meaningful short films.
• Cinema of India – Celebrating the linguistic and cultural diversity of Indian cinema.
• Watch Cinema – Curated film screenings followed by thoughtful discussions.
• Workshops & Masterclasses – Practical learning opportunities with experienced filmmakers and industry professionals.
Join us as we continue building a vibrant filmmaking community rooted in learning, collaboration and meaningful cinema.
About New Delhi Film Foundation (NDFF): The New Delhi Film Foundation (NDFF) is a registered non-profit film society dedicated to promoting meaningful cinema, creative education and film culture across Delhi and North India. Through regular film screenings, workshops, film festivals, monthly editions of Talk Cinema On The Floor (TCOTF), the Make Cinema campaign and collaborations with academic, cultural and industry institutions, NDFF is working to build a vibrant filmmaking ecosystem that nurtures emerging talent, encourages creative collaboration and contributes to India’s growing Orange Economy. NDFF believes that cinema is not merely entertainment—it is a powerful medium for education, dialogue, cultural exchange and social transformation. To join our community on Whats App or to stay in touch, Click: https://chat.whatsapp.com/JWMFcNWvocGCpKuwi078uL or contact: 999957865
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