Stenzin Tankyong’s debut feature film Kakthet wins the inaugural Humans of Cinema and Safarnaama Pictures co-production fund

The landscape of independent Indian cinema has witnessed a significant development with the announcement of the inaugural winner of the Humans of Cinema (HoC) and Safarnaama Pictures feature film co-production fund. Stenzin Tankyong, a filmmaker whose work has long served as a bridge between the high-altitude reality of Ladakh and international film festival circuits, has secured the INR 40 lakh ($42,000) grant for his debut feature project, Kakthet, which translates to "Idiot." The selection, narrowed down from a competitive pool of nearly 400 submissions, underscores a growing industry focus on regional, vernacular narratives that challenge the traditional dominance of mainstream commercial tropes.

A Narrative Rooted in Remote Realities

Kakthet is a project defined by its delicate balance of absurdity and high-stakes drama. Set against the stark, breathtaking, and often unforgiving backdrop of the Ladakh region, the film explores the existential crisis of a local government school. The central plot revolves around a single student, a reluctant grade 10 pupil who has yet to pass a formal examination. The school’s survival—and by extension, the stability of the community that relies on it—hinges entirely on the academic success of this one individual.

The film serves as a character study of a community trapped in the friction between systemic bureaucratic requirements and the lived realities of its inhabitants. By centering the narrative on a student determined not to be saved, Tankyong crafts a story that acts as both a local fable and a broader critique of institutional rigidness. For the filmmakers, the project is a manifestation of the "slow lamentation" inherent in rural life, captured through a lens of humor and sensitivity rather than overt judgment.

The Rise of Stenzin Tankyong: A Chronology of Artistic Development

Stenzin Tankyong’s emergence as a distinct voice in contemporary cinema is not an overnight occurrence. His trajectory reveals a steady, eight-year commitment to documenting the nuanced stories of the trans-Himalayan region.

• 2019: Tankyong gains early recognition with the release of his short film Sekool, which begins a pattern of festival interest in his work.
• 2023: The release of Last Days of Summer further solidifies his reputation, earning screenings at prestigious platforms such as the International Film Festival Rotterdam, the Clermont-Ferrand International Short Film Festival, and the Dharamshala International Film Festival.
• 2025: Kakthet enters the international market, securing the Co-Production Features Grant at the WAVES Film Bazaar.
• 2026: The project receives further validation when it is selected as one of 30 projects for the Asian Project Market at the Busan International Film Festival. In July of the same year, the team completes a rigorous three-week recce across the Changthang region and Leh, finalizing locations and producing a proof-of-concept teaser.

This deliberate pace—moving from short-form storytelling to the complexities of a feature-length production—has allowed Tankyong to build a robust network of international collaborators, including French co-producers La Belle Affaire Productions.

The Architecture of the Fund: A New Model for Support

The HoC x Safarnaama Pictures Co-Production Fund was conceptualized by Harshit Bansal, the founder of the digital platform Humans of Cinema, and Nazim Momin, a U.S.-based engineer and producer. Recognizing that independent filmmakers in India often face an "asymmetric struggle" when attempting to secure financing for projects that do not align with mainstream box-office formulas, the founders sought to create a bridge between local talent and global industry standards.

The fund is unique in its structure, pairing financial support with high-level mentorship. Industry stalwarts Vishal Bhardwaj and Shaunak Sen, both acclaimed for their distinct visual and narrative styles, have been attached to the project as mentors. Sen’s involvement, in particular, as an executive producer, provides the project with an experienced creative hand as it moves toward principal photography.

The jury for this inaugural edition featured a cross-section of the industry, including actor Imran Khan, filmmaker Arati Kadav, producer Aman Mann (known for the Oscar-nominated All That Breathes), and festival director Aseem Chhabra. Their evaluation process was described as "rigorous," focusing on both the commercial viability of the projects and the artistic integrity of the vision.

Production Pedigree and Global Aspirations

The production team behind Kakthet represents a synthesis of experience and fresh perspective. Ritu Sarin, a veteran of over 30 years and a co-founder of White Crane Films and the Dharamshala International Film Festival, brings institutional knowledge to the project. She is joined by Rajesh Thanickan, a producer with a track record of backing high-acclaim projects, including Neeraj Ghaywan’s Homebound (2025), Santosh (2024), and the Venice-winning Our Share of Sand (2026).

This pedigree is vital for Kakthet, which is currently in its fourth draft of the screenplay. With the principal cast and crew now largely in place, the team is shifting its focus toward securing international co-production agreements across Australia, Asia, and Europe. This multi-continental strategy is increasingly common for South Asian independent films that require diverse funding streams to maintain their creative independence.

Industry Implications and the Future of Regional Cinema

The success of Kakthet in securing this fund highlights a paradigm shift in the Indian film industry. Historically, regional language films—especially those from remote areas like Ladakh—have struggled to break into the "pan-Indian" consciousness due to a lack of marketing infrastructure and distribution support.

The establishment of private-sector initiatives like the HoC x Safarnaama fund suggests that the responsibility for "cultural preservation" is being increasingly shared by independent producers and digital content curators. As Harshit Bansal noted in his post-award statement, the overwhelming volume of entries (400) indicates that there is a massive, latent pool of stories in India that are not currently being serviced by the studio system.

From an analytical standpoint, the implications are two-fold:

1. Standardization of Quality: By providing mentorship from figures like Bhardwaj and Sen, the fund is effectively setting a new benchmark for what constitutes a "viable" independent project, encouraging filmmakers to move beyond amateurism.
2. Decentralization of Production: By funding projects that are deeply rooted in specific geographies, the industry is moving away from the "Bombay-centric" model of filmmaking, allowing for a more accurate reflection of the diverse sociocultural tapestry of India.

Official Responses and Future Outlook

Reflecting on the achievement, Stenzin Tankyong emphasized the importance of local support. "For independent filmmakers in India, finding support for stories rooted in our own regions, languages, and lived experiences can be challenging. The fact that this support comes from within our own country makes this recognition especially meaningful," Tankyong stated.

The mentors involved expressed a deep belief in the project’s ability to transcend cultural barriers. Vishal Bhardwaj noted that the story serves as a necessary reminder of why the industry must create pathways for "voices that emerge from outside the mainstream." Meanwhile, Shaunak Sen praised the screenplay’s ability to utilize humor to examine the "slow lamentation" of life in the mountains, a quality he believes will keep the film grounded and resonant for international audiences.

As the production team moves into the next phase of development, the spotlight remains on whether Kakthet can successfully leverage its current momentum into a full-scale feature release. For now, the collaboration between HoC and Safarnaama serves as a proof-of-concept for a new funding model that prioritizes the "fierceness and fearlessness" of the storyteller over the immediate commercial requirements of the multiplex market. With its sights set on the global festival circuit and a commitment to authentic regional representation, Kakthet stands as a bellwether for the next generation of Indian independent cinema.