Asha Jaoar Majhe (Labour of Love)
Aditya Vikram Sengupta
More Info
Aditya Vikram Sengupta was born in 1983 in Calcutta, India. At a very young age his interests meandered towards performing arts. He started training in western classical music and was an active dramatist throughout his childhood.
He studied literature at Calcutta University before pursuing design studies at the National Institute of Design. After specialising in Graphic Design, he trained himself in animation and film. His student shorts have screened at various international festivals including Clermont Ferrand, Animafest Zagreb and Sao Paulo IFF. His paintings have been showcased in galleries across India and one of his posters is exhibited at the Religious Art Museum, Tehran.
Aditya Vikram was working with a leading TV station as a promo director for three years before he decided to pursue filmmaking full time. He realised that filmmaking encompasses all his interests, allowing him to express himself in a wholesome manner.
His debut film Labour of Love premiered at the Venice Film Festival 2014 where it won the FEDEORA award for Best Debut Film. The film has since featured at several festivals including Rotterdam, London, Busan, Munich, Marrakech & Tallinn amongst others and has won 12 awards internationally. The film also received 2 National Film Awards in 2015 including the prestigious golden lotus for the Best Debut Film.
He has just completed production on his next feature Jonaki and is also developing another feature film Memories and My Mother
Ranjani Mazumdar is Professor of Cinema Studies at the School of Arts & Aesthetics, Jawaharlal Nehru University. Her publications focus on urban cultures, popular cinema, gender and the cinematic city. She is the author of Bombay Cinema: An Archive of the City (2007) and co-editor with Neepa Majumdar of the forthcoming Wiley Blackwell Companion to Indian Cinema. She has also worked as a documentary filmmaker and her productions include Delhi Diary 2001 and The Power of the Image (Co-Directed). Her current research focuses on globalisation and film culture, and the intersection of technology, travel, design and colour in 1960s Bombay Cinema.
Ritesh began his journey as a photographer watching his elder sister take photos of his family but sadly, he didn’t register it back then and began his journey as a professional in 2004 as an intern at the Indian Express. Inspired by the work of Reza Deghati, David Alan Harvey and of course, the usual suspects, Henri Cartier Bresson, Eugene Smith etc, he moved over to the Hindustan times and finally the OPEN Magazine where he worked for seven years before stepping into the fascinating and often scary world of freelance.
Ratheesh Radhakrishnan teaches at the Department of Humanities and Social Sciences, IIT Bombay, Mumbai. He completed his PhD from the Centre for the Study of Culture and Society (Bangalore), and was a Post-Doctoral Fellow with the Chao Centre for Asian Studies, Rice University (Houston, USA). While at Rice University, he founded and curated TITLES: A Festival of Experimental Films from India (2011- 2014). He is currently part of the India programming team of MAMI – Mumbai Film Festival. His research on Malayalam cinema has appeared in a variety of journals and other publications, both in English and in Malayalam.
Swati Dandekar is a film practitioner with a special interest in creating visual narratives of the living history around her; of people, places, ideas, traditions and practices. Her most recent work is “Neeli Raag”, a feature length documentary on the natural dye indigo, and the few remaining craftsmen who still work with it. 
Amit Mahanti is a filmmaker, cameraperson and editor, who has worked on films and video installations that explore questions of ecological transformation, culture and politics. His films include ML 05 B 6055 (2008), Malegaon Times (2012), Every Time You Tell A Story (2015) and Scratches on Stone (2017).
After a Post-graduate diploma in Social Communications Media from Sophia Polytechnic, Mumbai, Sushma joined the CIEDS Collective Here, she conceived and executed a film education programme for school children. Post this experience, she worked as Assistant Director and Scriptwriter with filmmaker M.S.Sathyu for 4 years. She began making documentaries in 1998.
Sabari Pandian works as an assistant director in documentary films. Some of the films that he has assisted on are ‘Nostalgia for the future’ and ‘Electric Shadows: Journeys In Image-making’. Based in Bombay he also loves to travel and take photographs. He is currently pursuing his Bachelor of Science in Information Technology from Mumbai University. An avid film buff, Sabari loves being part of film festivals and has provided technical support for film festivals such as Urban Lens Film Festival (2016) and the IAWRT Asian Women’s Film Festival (2017).
Kunal Deshpande is an alumnus of the Srishti School of Art Design and Technology, Bangalore. His diploma film, Daryache Raje (Kings of the Sea) was selected and screened at the 6th Kirloskar Vasundhara Environmental Film Festival.
TejInder, is an independent photographer and researcher. He is also senior urban fellow at Indian Institute for Human Settlements, Bangalore. He has had a range of work experiences from that of a trainee architect to managing electoral campaigns, participating in Model UN conferences, and documenting and archiving contemporary issues. He has photo documented Gaurav Gagoi’s campaign for Assam assembly elections, Occupy UGC movement, Swaraj Abhiyaan’s Jai Kisan Andolon, City Scripts – The IIHS Urban Writing Festival, 2017 IAWRT Asian Women’s Film Festival, Jio MAMI Mumbai Film Festival Word to Screen Bootcamp and many more conferences and events across India. His work on Ennore Creek Power Plant has been published by Scroll.in and Urbanisation – a SAGE journal.