In a landmark moment for Indian cinema, filmmaker Anuparna Roy has won the prestigious Orrizonti Award for Best Director at the 82nd Venice International Film Festival for her debut feature, Songs of Forgotten Trees. The win marks a historic first—Roy is the first Indian director to receive this honor in the festival’s Orrizonti section, which celebrates bold, innovative voices in global filmmaking. Her victory is not just a personal triumph but a resounding statement about the power of storytelling, representation, and resilience.

A Story Rooted in Silence and Survival

Songs of Forgotten Trees is a deeply personal and poetic exploration of urban alienation, female friendship, and the quiet strength of migrant women. Set in Mumbai, the film follows Thooya, an aspiring actress from Kerala, and Swetha, a corporate professional from Jharkhand, as they navigate the city’s relentless pace, economic precarity, and emotional isolation. Their chance encounter blossoms into a fragile bond that anchors them amid the chaos of survival.

Roy’s direction is marked by restraint and emotional precision. She avoids melodrama, instead allowing silence, glances, and ambient sound to carry the weight of her characters’ inner lives. The film’s visual language—crafted with cinematographer Debjit Banerjee, who at 80 brings decades of experience to the frame—is intimate and immersive, capturing the textures of Mumbai’s streets and the quiet corners where lives unfold unnoticed.

A Moment of Global Recognition

The award was announced by French filmmaker Julia Ducournau, president of the Orrizonti jury, during the closing ceremony in Venice. Roy, dressed in a white saree, took the stage to a standing ovation. Her acceptance speech was both emotional and defiant. “This film is a tribute to every woman who’s ever been silenced, overlooked, or underestimated,” she said. “May this win inspire more voices, more stories, and more power for women in cinema and beyond.”

Roy also used the platform to speak about global issues, notably the humanitarian crisis in Palestine. “Every child deserves peace, freedom, and liberation,” she declared. “Palestine is no exception.” Her words resonated across the festival, adding a layer of urgency and conscience to an already powerful moment.

The Journey Behind the Film

The making of Songs of Forgotten Trees was anything but easy. Roy worked with an all-male crew, including producers Bibhanshu Rai, Romil Modi, and Ranjan Singh, who backed the project despite its unconventional narrative and minimalist style. “We went through challenges, tough days, and moments of doubt,” Rai said. “But Anuparna never gave up—her fire kept us going.”

Roy herself acknowledged the significance of the support she received. “Gender is literally secondary,” she said in an interview. “My whole film was backed by men, and then Anurag sir was a bonus. For a film talking about friendship, outside the film too, the team members were friends and close. This is huge.”

Anurag Kashyap, who presented the film, praised Roy’s conviction and clarity. “She stayed true to her first pitch,” he said. “This win is proof that when you tell stories you truly believe in, they resonate universally.”

A Win for Indian Cinema

Roy’s victory is a watershed moment for Indian cinema on the global stage. The Orrizonti section has previously spotlighted acclaimed Indian works like Chaitanya Tamhane’s Court and Karan Tejpal’s Stolen, but Roy’s win breaks new ground. It signals a growing recognition of Indian women filmmakers and the stories they choose to tell—stories that often lie outside the mainstream but carry immense emotional and cultural weight.

Alia Bhatt, among many Bollywood celebrities, congratulated Roy on social media, calling it “a beautiful moment for Indian cinema.” Through her production house Eternal Sunshine, Bhatt shared a tribute to Roy’s achievement, underscoring the importance of representation and artistic courage.

The Power of Representation

Roy’s win is not just about awards—it’s about visibility. In her own words, “If any woman, after seeing this, can raise her voice, it would be great. That alone would be enough to keep me inspired.” Her film, which centers on two women navigating loneliness and survival, becomes a mirror for countless others whose stories remain untold.

The director also dedicated the award to her hometown of Purulia, West Bengal, where she witnessed firsthand the quiet strength of women in everyday life. “It’s not just me; it’s cinema which has created history again,” she said. “I would love to give the award to cinema, and my love for it.”

Artistic Integrity Over Convention

What sets Roy apart is her refusal to conform. Songs of Forgotten Trees doesn’t follow traditional Bollywood tropes. There are no dramatic plot twists, no sweeping musical numbers, no neatly packaged resolutions. Instead, the film unfolds like a quiet poem—layered, introspective, and hauntingly real.

This artistic integrity is what drew the attention of the Venice jury. Roy’s ability to craft a narrative that is both specific and universal, deeply Indian yet globally resonant, speaks to her skill and vision. Her win affirms that cinema need not be loud to be powerful, and that stories rooted in truth can transcend borders.

Looking Ahead

With this win, Roy joins a rare league of Indian filmmakers who have made their mark internationally. But she remains grounded. “All these statements are making me humble,” she said. “I cannot lie back and enjoy hearing that I have created history. Come on! I am inspired by many other and better women filmmakers from within and outside India.”

Her next steps remain under wraps, but industry insiders suggest she’s already developing her second feature—another intimate, character-driven story set in Kolkata. If Songs of Forgotten Trees is any indication, Roy’s future projects will continue to challenge norms and elevate voices that deserve to be heard.

Conclusion: A Win That Echoes Beyond the Festival

Anuparna Roy’s win at the Venice Film Festival is more than a personal achievement—it’s a cultural milestone. It affirms the power of cinema to reflect, resist, and reimagine. It celebrates the courage of women who tell stories that matter. And it reminds the world that Indian cinema is not monolithic—it is diverse, daring, and deeply human.

As Roy returns home with the Orrizonti trophy, she carries with her not just an award, but a legacy in motion. One that will inspire filmmakers, challenge conventions, and continue to shape the future of storytelling in India and beyond.