Embarking from the heart of India, “Heirloom,” an animated masterpiece conceived by Kolkata-native filmmaker Upamanyu Bhattacharyya, is poised to dazzle at the Marché du Film, the illustrious film market nestled within the grandeur of the Cannes Film Festival. This extraordinary endeavor, handpicked as one of the five jewels by the Hong Kong – Asia Film Financing Forum (HAF) for its exclusive HAF Goes to Cannes initiative, seeks to illuminate the storied handloom legacy of Ahmedabad. “Heirloom” joins the esteemed roster of Indian cinematic marvels slated to grace Cannes this year.
Transporting audiences back to 1960s Ahmedabad, the film unfurls the tale of a young couple whose destiny takes an unexpected twist upon the discovery of an ancient tapestry, unveiling the opulent tapestry of their familial heritage. Set against the rich tapestry of the city’s textile tradition, often likened to the bustling fabricscape of Manchester, the narrative delves into the poignant dichotomy between preserving cultural heritage and embracing the relentless march of modernity. A masterclass in artistry, the film seamlessly intertwines raw 2D animation with the tactile allure of traditional fabrics, meticulously brought to life through the enchanting dance of stop-motion techniques, promising a visual spectacle of unparalleled grandeur.
Bhattacharyya’s fastidious craftsmanship shines through every frame, evident in the painstakingly hand-painted backdrops and the digitally animated personas that inhabit this vibrant world. A scion of Kolkata, Bhattacharyya honed his craft at the prestigious National Institute of Design (NID) in Ahmedabad, harboring a profound ambition to rekindle global fascination with Ahmedabad’s time-honored textile culture, whilst championing the burgeoning animation industry of India through this labor of love. This multilingual opus, presented in Hindi and English, chronicles the arduous journey of Kirti, the visionary husband committed to erecting a shrine to the handloom legacy, and his steadfast wife, Sonal, who advocates for steering their fortunes towards the safeguarding of their family’s future through investments in a powerloom enterprise.
“The entire canvas of the film is a testament to human artistry, each stroke hand-painted on parchment with the delicate touch of paint and pencil, while the vibrant characters spring to life through the wizardry of digital animation,” elucidates Bhattacharyya in an exclusive dialogue with a renowned news outlet, reminiscing on his formative years at NID, where he graduated with honors in animation film design back in 2014. Meanwhile, the esteemed Cannes lineup also boasts an array of illustrious works from alumni of the esteemed Film and Television Institute of India (FTII), a resounding testament to the wealth of talent burgeoning within the institution’s hallowed halls. From the evocative “All We Imagine As Light” by Payal Kapadia to the introspective journey of “In Retreat” by Maisam Ali, and the collaborative marvel that is “Sunflowers Were the First Ones to Know,” the presence of FTII luminaries serves as a vibrant reminder of India’s indelible imprint on the global cinematic tapestry.