Kolkata witnessed an evening where cinema quietly eclipsed celebration, as the special screening of Iftaar emerged as the emotional and intellectual high point of Tyohaaron ka Utsav, hosted at a city hotel under the vision of Satnam Singh Ahluwalia.While the event set out to celebrate India’s diverse festivals—Baisakhi, Vishu, Poila Boishakh, Bihu, Eid, and Easter—it gradually evolved into something more introspective. Cultural performances, honours, and interfaith dialogue built the atmosphere, but it was the film Iftaar that ultimately anchored the evening in a deeper, shared human experience.
irected by Arindam Sil with a story by Sachchidanand Joshi, Iftaar unfolded with striking restraint. Set during a train journey, the film captures a fleeting interaction between strangers—eschewing dramatic conflict for quiet, observational storytelling. Its power lies in what it withholds: silences, pauses, and subtle gestures that speak volumes about empathy and coexistence.As the screening began, the tone of the evening shifted noticeably. Conversations faded, and the audience settled into a rare collective stillness. When the film ended, there was no immediate applause—only a lingering silence, suggesting a deeper resonance with viewers.Earlier in the evening, an evocative contemporary dance performance by Sudarshan Chakravorty and his troupe had visually explored the idea of cultural confluence, setting the thematic tone.
Speaking at the event, Ahluwalia described Iftaar as “a feeling that lingers long after the screen fades to black,” adding that while the festival celebrates diversity, the film “reveals the quiet truth of our shared humanity.” In a city known for its deep engagement with cinema, Iftaar was not merely screened—it was experienced, contemplated, and, in many ways, absorbed.
