From conflict zones and forgotten footpaths to questions of identity, survival, unfulfilled dreams and human emotions, the Hyderabad International Short Film Festival (HISFF) brought global realities to the big screen. Held at Prasads Multiplex between December 19 and 21, the event marked a significant cultural moment for Telangana by creating space for independent voices and reaffirming the relevance of short-form cinema in an era dominated by commercial narratives.The festival foregrounded culture, environment and ethnicity, alongside technical excellence reflected through contemporary themes, compelling narratives and strong storytelling. It also offered a counterpoint through quiet, powerful stories drawn from lived realities around the world.Overwhelming responseNotably, the HISFF marked the first international film festival to be held in Telangana after the state’s formation in 2014. Despite being its inaugural edition, it received an overwhelming response, with 705 entries from countries including Iran, Iraq, Spain, Egypt, the USA, the UK, the UAE, Sri Lanka, the Netherlands and South Korea.The opening ceremony of the HISFF 2025.Of them, a 25-member jury shortlisted 60 short films as official entries. Subsequently, a five-member main jury selected 11 short films as winners. The main jury comprised film critic-writer Mythili Rao, actor-filmmaker Nasser, acclaimed director-screenwriter Nagesh Kukunoor, Assamese filmmaker Utpal Borpujari and documentary filmmaker-content strategist Aarti Srivastava.The top honour was awarded to Sarnvesht from Iran, directed by Yaser Talebi. The second prize went to Toy Gun from northeast India and helmed by Parshuram Thingam, while the third prize was bagged by My Father is Afraid of Water, also from India and directed by Prateek Rajendra Sreevastava.The Special Jury Awards were conferred on The Whistle from Iran, directed by Iraj Afshari Asl, and Nyingma from India, directed by Liton Paul. The DPSFS Promising Telugu Film Award was presented to A Night on the Footpath, directed by Bharat Duvvada – the only film focussing on the LGBTQIA+ community, capturing the nightly struggle for survival and dignity of a transwoman.In addition, certificates of merit were awarded to five films: Sweet Moon from India, directed by Mayur Prakash Kulkarni; Holy Water from Iran, directed by Esmail Ramezani and Marziyeh Bani Ali; Collage from Spain, directed by Marius Cornotto; Thunai from India, directed by Vignesh Paramasivam; and Body Dya Body from India, directed by Sourav Brahma.Mohsen Moghaddami, vice consul of the Iranian consulate in Hyderabad, received the awards on behalf of the Iranian winners.Local cultures in global cinemaThe HISFF also served as a rare space for reflection, experimentation and dialogue in contemporary cinema. Extensive discussions were held over two days, with participation from the main jury’s members and special guests, including Canadian film critic Judy Gladstone, actress Leema Das, Manipuri director Sunju Bachaspatimayum, and film society representatives Alexander Leo Pou, Christopher Dalton and Balaji Aika.The conversations explored how cinema has evolved alongside changing technology, the importance of alternative cinema, the role of the National Film Development Corporation (NFDC) in promoting realistic and culturally rooted films, and the relevance of film festivals in amplifying alternative voices. World cinema, audience expectations and growing concerns over the influence of formulaic ‘masala’ films were also deliberated upon.Referring to the widening divide among audiences, Kukunoor emphasised that filmmakers must clearly understand their target audience before beginning production. He drew a few examples from his own professional experiences.Gladstone recalled how the short films she made for the Olympics, devoid of dialogue, connected powerfully with audiences purely through visual storytelling.Bachaspatimayum noted that global audiences respect authenticity and local cultures, citing the worldwide success of the Malayalam film Manjummel Boys. He observed that contemporary Indian cinema rarely produces such culturally rooted works.Borpujari explained how filmmakers and actors in the northeast actively travel to villages to connect with audiences. “Due to the lack of cinema halls, large-scale commercial filmmaking is not viable in the region. We follow a ‘mobile theatre’ system, which sustains us. In such a context, platforms like the HISFF are crucial for showcasing our work,” he added.Speakers discuss parallel cinema.Alternative cinemaDalton, founder of the Cinema Society of India, urged young filmmakers to have their identity and culture reflect in their work. “These elements resonate most strongly with audiences. Do not hesitate to market yourselves – this is how your work reaches a global audience.”Meanwhile, Rao observed that while commercial cinema often objectifies women, parallel cinema places women at the centre of its narratives. She stressed the importance of involving young people at the school and college levels in film societies before they are influenced by formulaic content. “Such initiatives are essential to revive alternative cinema,” she stressed.Das advocated for greater support from both the Union and state governments in promoting alternative cinema and short films through OTT platforms and dedicated spaces.Leo Pou highlighted the importance of pre-release buzz and public relations in sustaining alternative cinema, alongside creative merit.Film activist Aika recalled the rise of the art film and film society movements during the 1980s and 1990s. He observed that audiences have gradually shifted from cinema halls to television, and now to mobile phones and OTT platforms. “Understanding this shift, I screen select alternative films for audiences in Kolkata through film societies and engage them in discussions,” he explained.Challenges in contemporary filmmakingOn the final day, a brainstorming session focused on the challenges of modern filmmaking, with Nasser, Rao, Srivastava and Shashi Kumar from the Asian College of Journalism participating.Reflecting on cinema’s evolution, Nasser recalled that filmmaking in the 1980s was entirely dependent on film negatives. He admitted that he initially felt uneasy about digitisation. “Anyone can use technology, but over time, I realised that the real challenge lies in creating impactful content.”On concerns surrounding artificial intelligence, Nasser noted that AI cannot generate the subplots and comedy intrinsic to popular Indian cinema, nor can it replicate human emotion. “AI does not feel,” he remarked.Speakers discuss the ‘Challenges of Filmmaking in the Modern Era’.Shashi Kumar identified censorship and growing intolerance towards creative freedom as major challenges faced by filmmakers today. Citing the ban on 19 films – including Battleship Potemkin (1925) and Beef – at the International Film Festival of Kerala, he observed: “Ironically, some of the finest cinema has emerged from regions under authoritarian rule, and it is worrying that we appear to be moving in that direction.”Recalling the era of institutional support from the NFDC, Rao spoke about the production of several anti-establishment films in India. “Today, creative freedom is being stifled in the name of undeclared censorship.”Drawing from her experience as a content strategist, Srivastava reflected on how the social media boom has transformed cinema. “The word ‘cinema’ has been replaced by ‘content’. It is no longer enough to create content; it must be strategically designed. Adaptation is inevitable, but meaningful content will always find its audience and define our place on the global map,” she said.What is the HISFF?The three-day international film festival was organised by the Telangana State Film Development Corporation (TSFDC) under the aegis of the Department of Culture, Youth and Tourism of the Telangana government. The event was inaugurated by state Minister for Roads, Buildings and Cinematography Komatireddy Venkat Reddy and presided over by TSFDC chairman Dil Raju.Telangana Minister for Tourism and Culture Jupally Krishna Rao, who was the guest of honour, said the HISFF had permanently etched Telangana’s name on the world cinema map.Former IPS officer Goutam Sawang opens the Northeast Pavilion at the HISFF.Veteran filmmaker and Telangana Gaddar Film Award jury committee member Uma Maheswara Rao served as patron of the HISFF organising committee. He stated that the initiative would play a key role in promoting short-form cinema in the years to come.The festival opened with the screening of Ancessao and Jahaan – The Last Gift. Ancessao is a 30-minute Konkani short film directed by Mangurish Bandodkar that portrays the human journey through its challenges such as aging and loneliness.Jahaan – The Last Gift is a Hindi short film centred on climate change and human indifference. A work of fiction directed by Rahul Shetty, the film features Tiger Shroff in the lead role.A special “Northeast Pavilion” was set up to showcase emerging talent from India’s northeastern states, where 11 short films were screened. Additionally, five classic films were presented as part of the ‘Retrospective Screenings’.With two decades in journalism and content editing, Y. Krishna Jyothi blends newsroom rigour with grassroots advocacy. From the New Indian Express and South First to PARI, her work spans SEO-driven features, translations and rights-based documentation. She recently translated two award-winning Nordic crime thrillers into Telugu, becoming the first to introduce Telugu readers to literary works from Finland and Iceland.