SRINAGAR – As the curtains rise on the four-day International Film Festival of Jammu and Kashmir, which commenced on September 7, 2026, the event has sparked a fervent debate about the future of the region’s creative economy. While the festival serves as a high-profile showcase of Indian and international cinema against the backdrop of the valley’s legendary vistas, local observers and industry insiders are calling for a fundamental shift in strategy: moving beyond using Kashmir as a picturesque set for outsiders and instead fostering a self-sustaining local film industry.
For over a century, Kashmir’s landscape has been a favored canvas for global filmmakers. However, critics argue that this long-standing relationship has remained superficial, with the region often relegated to a backdrop for borrowed scripts. The current festival, while successful in drawing international attention and bolstering tourism, is being viewed by many as a “capital-intensive affair” that prioritizes external production over domestic growth.
“Kashmir does not lack material; it lacks the will to turn this raw potential into a cinema of its own,” noted a cultural observer during the festival’s opening events.
The case for a homegrown industry is compelling. Kashmiri talent has already proven its mettle on the global stage, with local writers and technicians earning accolades at prestigious platforms such as the Cannes, Venice, and Sundance film festivals. Notably, a recent film centered on themes of migration and the pandemic, penned by a Kashmiri author, received international acclaim, proving that local narratives possess universal resonance.
Moreover, there is a clear and growing demand from the local audience. Residents are increasingly eager to see their own streets, complex histories, and distinct cultural nuances reflected on screen. They seek stories that center their experiences rather than treating them as scenery for external narratives.
Advocates for a structural change suggest that the government’s current policy, which leans heavily toward attracting outside productions, misses the mark. While financial incentives exist to support local filmmakers, critics argue that these initiatives should be expanded into a comprehensive industry strategy.
“An industry cannot be built on visitors alone,” the consensus holds. “It requires local writers, directors, and crews supported by sustained investment, rather than just grand, fleeting events.”
As the festival continues to draw crowds, the conversation has shifted toward the need for a long-term roadmap. The goal, according to local artists, is not to shun global partnerships or film festivals, but to build an ecosystem that serves the Kashmiri audience first. By nurturing internal talent and investing in domestic infrastructure, the region could move away from being a passive location for tourism and toward becoming a vibrant, independent hub of cinematic storytelling. The message is clear: the time has come for Kashmir to move the camera from the outside in, telling its own stories to the world on its own terms.
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