Anuparna Roy’s Venice-winning debut film faces India ban

Independent Indian filmmaker Anuparna Roy has spoken out after her award-winning debut film Songs of Forgotten Trees was blocked by Indian censors and prevented from being released in her home country.

Roy, who is only 28, made headlines in 2025 when Songs of Forgotten Trees won the Best Director award in the Horizons section at the Venice Film Festival. The achievement marked a major breakthrough for the young filmmaker and brought international attention to her work.

However, her return to Venice this year has been overshadowed by the ongoing problems surrounding her debut feature. Roy revealed that India’s film certification authorities recently informed her team that the movie was considered a “threat to society” and could not be distributed.

The filmmaker said she was deeply disappointed by the decision, particularly because she believes the film represented India on an international stage.

Roy expressed frustration over the censorship, pointing out that she had travelled to Venice, represented her country and won a major award for her work. She questioned why a film that had received recognition at one of the world’s most respected film festivals could be considered harmful to Indian society.

Songs of Forgotten Trees tells a gentle story about friendship and the lives of two migrant women living together in Mumbai. One woman works part-time as a sex worker, while the other is employed at a call centre. Through their relationship, the film explores loneliness, friendship, survival and the challenges faced by women living on the margins of society.

The difficulties faced by Roy are similar to those experienced by other filmmakers whose projects have dealt with sensitive social and political issues in India.

British-Indian filmmaker Sandhya Suri’s Santosh also attracted international praise after premiering at the Cannes Film Festival in 2024. The film examines issues including sexism, religious discrimination, corruption within the police force and the treatment of people from lower castes. However, it also faced difficulties with Indian censors.

Despite the setback surrounding her debut film, Roy has returned to Venice with her second feature, Lovers of the Blue Night. The new movie once again explores subjects that can be considered sensitive, focusing on Bangladeshi migrants living in Mumbai and dealing with poverty, grief and questions surrounding their sexuality.

Roy explained that she wanted to present audiences with a different side of Mumbai rather than repeating the familiar glamorous image often shown in Indian cinema.

The filmmaker’s second movie is competing in the Horizons section at Venice, which provides an international platform for emerging filmmakers and innovative cinema. The winners are scheduled to be announced on Saturday.

Roy also spoke about the challenges faced by independent filmmakers in India. She believes opportunities remain limited because mainstream Bollywood productions dominate cinemas, while filmmakers dealing with controversial or difficult subjects can face additional pressure.

According to Roy, filmmakers who openly support the government may find it easier to work, while she does not see herself making propaganda films. She has also expressed support for Palestinian rights and worries that her public statements could have contributed to the difficulties surrounding her work.

Censorship has existed in India for decades, but critics and rights groups have accused the government of Prime Minister Narendra Modi of increasing pressure on artists and filmmakers since 2014.

Roy nevertheless represents a growing generation of female Indian filmmakers gaining international recognition. She joins directors such as Payal Kapadia, whose 2024 film All We Imagine As Light became a major success on the international festival circuit.

Largely self-taught, Roy developed her filmmaking skills through the guidance of friends and mentors. Her journey from an emerging filmmaker to a Venice award winner highlights both the opportunities and challenges facing independent cinema in India.

While her debut remains unavailable to audiences in her own country, Roy is continuing to use international cinema platforms to tell stories that challenge familiar narratives and highlight the experiences of people often left outside the mainstream spotlight.