In a disappointing turn of events for cinephiles and the film fraternity, the prestigious MAMI Mumbai Film Festival has been officially cancelled this year, reportedly due to a lack of financial backing following the exit of its main sponsor. The annual celebration of cinema, known for showcasing bold, independent, and global cinema, has long been a cornerstone of Mumbai’s cultural calendar — making this announcement a major blow to the artistic community.
The cancellation comes just a year after the festival lost its title sponsor, leaving the organizing committee in a lurch. Despite attempts to secure alternative funding and partnerships, sources say the team was unable to pull together the necessary resources to host the event in 2025.
Renowned filmmaker Hansal Mehta, never one to shy away from voicing concerns, took to social media to express his dismay. In a strongly worded post, Mehta said the silence from within the industry was deafening. “We celebrate cinema in tweets, but where are the people who claim to be its protectors when it’s truly needed? One of the country’s most vital platforms for serious cinema has been abandoned — and not just by sponsors, but by the very gatekeepers of the art,” he remarked.
His comments resonated with many in the creative field, sparking widespread conversation about the fragile ecosystem of film festivals in India. MAMI (Mumbai Academy of Moving Image) has, over the years, played a crucial role in providing a platform to filmmakers who operate outside the mainstream commercial circuit. It has premiered countless path-breaking Indian and international films, mentored young talent through workshops, and served as a bridge between global cinema and local audiences.
What makes this development more alarming, say insiders, is not just the temporary pause but the potential long-term impact. “Festivals like MAMI don’t just screen films — they cultivate voices, encourage dialogue, and democratize the cinematic space,” said an independent filmmaker who has showcased at MAMI in the past. “The absence of such a space is a setback for every aspiring filmmaker in India.”
Industry observers have noted that the situation also reflects a deeper problem within the cultural infrastructure — the overreliance on corporate sponsorship without a sustainable model for supporting the arts. With international festivals like Cannes and Berlinale receiving institutional support from their governments and cultural bodies, the contrast in India becomes more stark.
The festival’s curators and organizers have yet to release an official statement detailing future plans or whether the festival will return in 2026. However, behind the scenes, conversations are ongoing. Some hope that this setback could spark a larger movement within the creative industry to rethink how arts and cinema are supported in the country.
In the meantime, fans of the festival are left with disappointment and a question — what happens when spaces meant to nurture creativity are no longer financially viable? As Hansal Mehta aptly said in his post, “Cinema may survive, but what about the spirit of cinema — who will fight for that?”
