Stenzin Tankyong’s debut feature Kakthet wins the inaugural INR 40 lakh Humans of Cinema and Safarnaama Pictures co-production fund

The landscape of Indian independent cinema has received a significant boost with the announcement that Stenzin Tankyong’s debut feature film, Kakthet (Idiot), has been selected as the inaugural recipient of the INR 40 lakh ($42,000) co-production fund. This initiative, a collaborative effort between the prominent film community platform Humans of Cinema and Safarnaama Pictures, was established to bridge the gap between regional storytelling and the financial realities of global film production. Selected from a pool of nearly 400 submissions, the project stands as a testament to the growing appetite for hyper-local narratives that resonate on a universal scale.

The Narrative Core of Kakthet

Set against the austere and breathtaking backdrop of the Ladakh region, Kakthet explores the intersection of institutional survival and individual agency. The plot centers on a government-run school teetering on the edge of closure. The institution’s fate—and, by extension, the educational prospects of the local community—rests entirely on the shoulders of a single, reluctant tenth-grade student. This student, who has consistently failed his examinations, becomes the unlikely focal point of a desperate effort by his teachers to save the school.

The project is described by those involved as a delicate balance of absurdity, humor, and a quiet, profound lamentation for the shifting realities of life in high-altitude communities. By focusing on the dynamics between the student, Singay, and his educators, the screenplay seeks to examine the pressures of the modern education system through the lens of a remote, traditional culture.

A Proven Filmmaker’s Journey

Stenzin Tankyong is not a newcomer to the craft. Over the past eight years, he has cultivated a distinct cinematic language that emphasizes the symbiosis between the human experience and the rugged terrain of Ladakh. His previous short films, Sekool (2019) and Last Days of Summer (2023), have already established his credentials on the international circuit.

The filmmaker’s ability to navigate the festival circuit—having secured screenings at the International Film Festival Rotterdam, the Clermont-Ferrand International Short Film Festival, and the Dharamshala International Film Festival—has clearly informed his approach to Kakthet. This project represents a transition from shorter, impressionistic works to a sustained narrative feature, a jump that often requires significant structural and financial backing.

The Production Powerhouse

The strength of Kakthet lies not only in its script but also in its production pedigree. The project is steered by veteran producer Ritu Sarin, a foundational figure in the Indian independent scene who co-founded White Crane Films and the Dharamshala International Film Festival. Her three decades of experience provide the project with a stable institutional foundation.

Joining her is Rajesh Thanickan, a producer whose recent track record reflects the current upward trajectory of Indian international co-productions. His portfolio includes Neeraj Ghaywan’s Homebound (executive produced by Martin Scorsese), the critically acclaimed Santosh (Cannes 2024), and Our Share of Sand, which secured the Audience Award at the 2026 Venice International Film Festival’s International Critics’ Week. The addition of French co-producers La Belle Affaire Productions further signals the film’s intent to reach European audiences and navigate international distribution markets.

Chronology of Development and Recognition

The trajectory of Kakthet has been marked by a series of strategic industry milestones, suggesting that the project was already being closely watched by gatekeepers of international cinema long before the current funding announcement.

• Initial Development: The script has undergone four rigorous drafts, reflecting a long-term commitment to narrative precision.
• WAVES Film Bazaar (2025): The project received early validation by winning the Co-Production Features Grant, a key indicator of its potential for international appeal.
• Asian Project Market (2026): Kakthet was selected as one of only 30 projects at the Busan International Film Festival’s prestigious market, providing the team with access to global financiers and sales agents.
• Visual Proof-of-Concept (July 2026): The production team completed a three-week location scout and production recce across the Changthang region and Leh. During this phase, they captured vital visual and sonic assets to serve as a proof-of-concept teaser, which has been instrumental in securing interest from potential partners.

The Architecture of the Fund

The HoC x Safarnaama Pictures Co-Production Fund was conceptualized by Harshit Bansal, the founder of the influential Humans of Cinema platform, and Nazim Momin, a U.S.-based engineer and producer. Their goal was to create a sustainable pipeline for filmmakers working outside the mainstream Bollywood infrastructure.

The selection process was exhaustive, overseen by a jury that included actor Imran Khan, filmmaker Arati Kadav, producer Aman Mann, and festival director Aseem Chhabra. The mentorship program, led by acclaimed directors Vishal Bhardwaj and Shaunak Sen, adds an layer of creative oversight that is rare for early-stage feature funding. Sen, who is also serving as an executive producer, has noted that the script’s ability to remain "curious and sensitive" without resorting to easy judgment is what sets it apart.

Industry Implications and Future Outlook

The success of this initiative reflects a broader shift in the Indian film industry. As regional cinema gains domestic and global traction, the necessity for decentralized funding becomes increasingly apparent. Historically, independent filmmakers in India have had to rely heavily on international grants or private equity, both of which can be volatile or culturally disconnected.

By providing INR 40 lakh, the fund acts as "seed capital" that allows a production to move into the final stages of pre-production. This is often the most difficult phase for independent films, where the transition from "project on paper" to "film in production" stalls due to cash flow gaps. The fact that the funding is sourced from within the Indian industry, by creators for creators, marks a significant step toward self-sufficiency in the independent sector.

"For independent filmmakers in India, finding support for stories rooted in our own regions, languages, and lived experiences can be challenging," Tankyong noted in a statement following the win. "The fact that this support comes from within our own country makes this recognition especially meaningful."

Analysis: Why "Kakthet" Matters

The selection of Kakthet is not merely a financial transaction; it is a signal to the market. The film’s focus on Ladakhi language and culture places it within a growing corpus of Indian films that are successfully bypassing the "pan-Indian" blockbuster formula to find success in the niche, high-value international market.

Furthermore, the involvement of mentors like Vishal Bhardwaj underscores the importance of institutional knowledge transfer. By attaching established names to emerging projects, the fund ensures that the winning filmmaker receives not just money, but a roadmap for navigating the complexities of production, legal requirements, and international distribution.

As the team now turns its attention to securing additional financing across Australia, Asia, and Europe, the project serves as a case study for how regional Indian stories can effectively leverage global co-production networks. If the proof-of-concept teaser and the pedigree of the production team are any indication, Kakthet is positioned to be a significant addition to the 2027 festival cycle.

With the primary cast and crew already identified and the locations scouted, the project is moving toward a concrete production schedule. The success of the HoC x Safarnaama initiative suggests that this may be the first of many such cycles, potentially creating a new model for how independent cinema in South Asia sustains itself in the coming decade.