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Indian NGO regulations, and the ethics of inclusive filmmaking. Interview by Daria Podsiodlo, ShareDoc Ambassador with Bipuljit Basu
I use what I call inclusive filmmaking practice. I believe a director shouldn’t just walk away from a community once the film is finished. While making my next film, I bring my previous community into the new project to collaborate. My 'family of communities' grows together. For example, the community I worked with for Redlight to Limelight have become seasoned non-fiction filmmakers and technicians over the last five years. They can now support me on my next film. Filmmakers should think holistically: how can we accommodate previous communities in the next initiative based on their choice and capacity? It’s about carrying the methodology forward."
How did you first discover ShareDoc?
Bipuljit: "I attended the IDFA Academy in 2024 after receiving support from IDFA for my film Redlight to Limelight. There, I met Anne Marie, who told me we would be the first Indian film if we would start a campaign with Redlight to Limelight on the ShareDoc platform. I’m very happy to see that there are now 4 Indian films on the site."
Some Indian filmmakers hesitate to use crowdfunding platforms because they fear a backlash from government institutions. Is that a valid concern?
Bipuljit: "The 'backlash' isn't really about the government being bothered by a filmmaker raising 2,000 or 3,000 USD. It’s not about the amount; it’s about the legal structure.
In India, a for-profit entity—like a film production house—does not have a license to receive public donations from abroad. We can receive grant license fees, equity investments, or private investments, but not public donations. Only non-profit entities (NGOs) with a specific license (FCRA) are legally allowed to receive foreign public donations or grants."
How do you navigate those legal channels correctly?
Bipuljit: "It must be done through the proper legal channels to avoid trouble. The money should be received by an NGO account, which then disburses the funds to the community for a specific project or support space.
It is crucial that the NGO has a specific plan for how to utilize and disburse that money. Furthermore, the NGO should have a 'pedigree'—proven experience working with that specific community. For example, since we work with sex workers in red-light areas, our partner NGO must be one already established in that field. If a random organization suddenly receives money for a field they don't know, the government may question it. For ShareDoc, having the like-minded NGO register their account directly is a great option because the money goes straight to the community."
Do filmmakers also worry that touching on sensitive issues could get them blacklisted?
Bipuljit: "My focus is on marginalized communities: acid attack survivors, LGBTQ+ individuals, sex workers, and the economically marginalized. These topics are not inherently anti-government; these are people struggling for their rights and try to create a justified civil space. In my opinion, Speaking about one’s rights, or about the dream of survival, has no connection with opposing the State. A welfare state like India understands this, and so does a filmmaker. If there is any misunderstanding, what is needed is a wider space for dialogue and conversation.
You seem to have a very clear grasp of these logistics. Does that come from your background?
Bipuljit: "Yes, I did my Master’s in Social Work years ago. That gave me a foundation in the development sector—understanding the legal, ethical, and developmental aspects behind social action in India. This knowledge is not necessarily common among filmmakers."
How does your background in social work influence your actual filmmaking practice?
Bipuljit: I use what I call inclusive filmmaking practice. I believe a director shouldn’t just walk away from a community once the film is finished.