For the past two decades, the Asian Women’s Film Festival (AWFF) has provided a platform for women filmmakers across Asia, spotlighting intimate narratives through a distinctly female gaze. Celebrating its 20th year, AWFF 2025, curated by festival director and acclaimed film editor Bina Paul, will take place from March 6 to 8 at the India International Centre.
Launched in 2005 as part of the Asia Project in collaboration with the India International Centre, “this festival is unique in its focus on women and the female gaze—not just from India, but across Asia,” says Aparna Sanyal, managing trustee of the International Association of Women in Radio and Television (IAWRT). This year’s lineup of guests includes Cannes Grand Prix winner Payal Kapadia, Seoul International Women’s Film Festival curator Hwang Hae Rim, and renowned cinematographer Akiko Ashizawa , each bringing a unique perspective to the festival’s cross-cultural dialogue. “Different countries in Asia have distinct perspectives on life and culture, yet there are shared experiences and commonalities,” says Sanyal. “This festival provides a valuable opportunity to explore both.”
However, despite increasing global recognition, women filmmakers continue to face systemic barriers in funding, distribution, and visibility—making platforms like AWFF not just a celebration, but a necessity. This year’s programmes are backed by Delhi Tourism, the British Council, the Japan Foundation, and the French Institute in India.
2025 highlights
The diverse lineup of films from across Asia, includes works from China, Myanmar, the Philippines, and Qatar. It opens with The Sharp Edge of Peace (2024) by exiled Afghan filmmaker Roya Sadat, followed by a discussion with producer Alka Sadat. “This section will explore the situation in Afghanistan and how filmmakers persevere despite challenges,” says curator Bina Paul. The festival also features Payal Kapadia’s A Night of Knowing Nothing (2021) and a selection of Iranian shorts under The Unsettled Reality, Tomorrow’s Imagination section.
AWFF honours two pioneers of Asian cinema—Aruna Vasudev and Manjira Dutta—with a screening of Sacrifice of Babulal Bhuiya (1987). “Aruna Vasudev was a foundational IAWRT member who made phenomenal contributions to world cinema,” says Festival Director Bina Paul. “Since her passing, we felt it was essential to honour her legacy. Manjira Dutta was a pioneering documentarian at a time when making documentaries was incredibly challenging. This film remains groundbreaking in both storytelling and cinematic approach. These women shaped Asian cinema, and we want to celebrate them.”
The festival also welcomes Japanese cinematographer Akiko Ashizawa, who has worked across films, commercials, and documentaries for 50 years. “Her insights into cinematography’s technical and creative aspects will be invaluable, especially as she shares the challenges of being a woman in this field,” says Paul.
At its core, AWFF is more than a film festival—it’s a space for filmmakers, students, and enthusiasts to connect through collaboration and shared stories. “We curate films through an open call, often discovering works unavailable on OTT platforms,” says Sanyal. “Our selection committees ensure these films reach audiences who might never see them otherwise.”
Whether through films that transport viewers to unseen realities or conversations that spark new ideas, the festival thrives on collective experience. “It’s not about me and you. It’s about us,” Sanyal emphasises. “People should come because it’s their opportunity to be part of something far removed from everyday existence.”
For woman-centric spaces
AWFF aims to be more than just a platform for screening films—it seeks to be a movement that pushes boundaries. Sanyal emphasises the importance of women-led initiatives in filmmaking, highlighting the evolving landscape with more women stepping into the field. "More women are making films they believe in, telling stories they want to tell,” she says, emphasising AWFF’s role as a support group. The biggest challenge for filmmakers, especially women, is access—to resources, distributors, and sales agents. Says Sanyal: “Filmmaking requires an entire ecosystem—teams, locations, funding. It’s not like writing a book, where you just sit down and write.” AWFF aims to bridge these gaps, providing exposure and support for women filmmakers.