Stenzin Tankyong Debut Feature Kakthet Wins Inaugural INR40 Lakh Humans of Cinema and Safarnaama Pictures Co-Production Fund

The landscape of independent South Asian cinema has received a significant boost with the announcement that Stenzin Tankyong’s upcoming debut feature film, Kakthet (Idiot), has been named the recipient of the inaugural INR40 lakh ($42,000) feature film co-production fund. Established jointly by the digital storytelling platform Humans of Cinema and Safarnaama Pictures, the fund evaluated nearly 400 submissions from across the country before crowning the Ladakhi-language project as its first-ever winner.

Set against the majestic and remote high-altitude terrain of Ladakh, Kakthet addresses urgent themes of community preservation, education, and resilience. The narrative centers on a vulnerable government school whose future—along with the fate of the surrounding community—hangs entirely on a single, reluctant grade 10 student. Having never passed an exam, the student becomes the improbable linchpin for the institution’s survival, forcing a team of desperate teachers to attempt the seemingly impossible task of saving a school through a student who is resolutely determined not to be saved.

The victory marks another major milestone in the trajectory of a project that has steadily built international momentum through prestigious circuit selections, grants, and high-profile industry mentorships.

Rigorous Selection Process and Industry Support

Launched by Harshit Bansal, founder of Humans of Cinema, and Nazim Momin, a U.S.-based engineer and principal of Safarnaama Pictures, the new co-production fund was created to bridge a critical gap in regional South Asian financing. The initiative aims to empower filmmakers working outside mainstream commercial hubs by offering both financial backing and elite industry mentorship.

The evaluation process for the inaugural fund was rigorous, overseen by a high-profile jury comprising acclaimed actor Imran Khan, filmmaker Arati Kadav, All That Breathes producer Aman Mann, and veteran festival director Aseem Chhabra. Furthermore, the winning team gains direct access to the guidance of eminent industry figures Vishal Bhardwaj and Shaunak Sen, with the latter also attached as an executive producer on the film.

Reflecting on the competitive pool and the overarching mission of the fund, Harshit Bansal noted the immense volume of talent discovered during the screening cycle.

“The past few months working on this fund have been both unbelievably challenging and incredibly rewarding,” Bansal said. “We were pleasantly surprised by the sheer number of brilliant projects we received from across the country, and we’re even more convinced how desperately initiatives like these are needed in South Asia right now. It was definitely a testing process, but we couldn’t be happier with the result. Stenzin is an exciting new filmmaker with a distinct voice, and we’re excited to be an ally in his journey of making his debut feature.”

Shaunak Sen praised the unique tonal balance of the script, highlighting its ability to address profound socio-educational anxieties through unconventional artistic choices.

“The Kakthet script mobilizes lightness, absurdity, and humor to tell the story of a slow lamentation underwriting several lives in Ladakh,” Sen said. “The story of Singay and the motley group of students and teachers always stays curious and sensitive, while never lapsing into judgment. I look forward to supporting the team in realizing this project.”

For director Stenzin Tankyong, securing backing from a domestic initiative adds a distinct layer of validation to a project deeply anchored in indigenous realities.

“I’m delighted that Kakthet has been selected for the inaugural HoC x Safarnaama Pictures Co-Production Fund,” Tankyong stated. “For independent filmmakers in India, finding support for stories rooted in our own regions, languages, and lived experiences can be challenging. The fact that this support comes from within our own country makes this recognition especially meaningful for us. For a film in Ladakhi, grounded in the culture and realities of Ladakh, this support offers real encouragement to tell a story that might otherwise struggle to reach the screen and a wider audience.”

A Rising Voice in Ladakhi Cinema

Stenzin Tankyong is far from a newcomer to the global film festival circuit. Over an eight-year filmmaking career, he has steadily worked to introduce international audiences to the nuanced landscapes, oral histories, and cultural textures of Ladakh. His artistic footprint includes critically acclaimed short films such as Sekool (2019) and Last Days of Summer (2023). These projects traveled widely, earning official selections at prominent international gatherings including the International Film Festival Rotterdam, the Clermont-Ferrand International Short Film Festival, and the Dharamshala International Film Festival.

Tankyong’s transition to feature filmmaking with Kakthet builds directly upon the aesthetic sensibilities established in his short-form work. The film’s production lineup is equally formidable, featuring Ritu Sarin alongside French co-producers La Belle Affaire Productions, and Rajesh Thanickan. Sarin brings over three decades of industry experience as a filmmaker and producer, having co-founded White Crane Films and the Dharamshala International Film Festival. Thanickan’s impressive slate of recent production credits underscores the project’s global caliber; his portfolio includes Neeraj Ghaywan’s Homebound (executive produced by Martin Scorsese, premiering at Cannes in 2025), Santosh (Cannes 2024), and Our Share of Sand, which premiered at the 2026 Venice International Film Festival’s International Critics’ Week and walked away with the prestigious Audience Award.

Chronology of Project Development and International Recognition

Kakthet has been steadily advancing through the international co-production market, garnering widespread attention long before securing the Humans of Cinema and Safarnaama Pictures grant.

• 2019–2023: Director Stenzin Tankyong builds a strong portfolio with short films Sekool and Last Days of Summer, establishing his voice in regional storytelling and securing berths at major international festivals like Rotterdam and Clermont-Ferrand.
• 2025 (WAVES Film Bazaar): The project achieves its first major industry breakthrough by winning the Co-Production Features Grant at the WAVES Film Bazaar.
• 2026 (Busan International Film Festival): Kakthet is selected as one of 30 premier global projects for the Asian Project Market, bringing it to the attention of international financiers and sales agents.
• July 2026: The core production team completes an intensive three-week reconnaissance mission across the Changthang region and Leh. The trip accomplishes essential location scouting, production planning, and the gathering of visual and sonic assets required to produce a proof-of-concept teaser.
• Late 2026: The screenplay reaches its fourth draft. Principal cast members, key crew roles, and shooting locations are successfully locked in.
• Current Status: With the infusion of the INR40 lakh fund, the team shifts its primary focus toward closing international co-production agreements and raising supplemental financing across Asia, Europe, and Australia.

Broader Implications for Regional and Independent Cinema in South Asia

The emergence and success of the Humans of Cinema and Safarnaama Pictures Co-Production Fund reflect a broader structural shift within the South Asian entertainment industry. For decades, regional cinematic traditions outside major linguistic hubs—such as Hindi, Tamil, Telugu, and Malayalam—faced immense hurdles in securing institutional financing, distribution channels, and marketing support.

Ladakhi cinema, in particular, represents a micro-industry operating within an extreme geographical and climatic zone. While filmmakers from the region have periodically captured critical acclaim, sustainable production models capable of supporting feature-length narratives have remained sparse. Initiatives like the HoC x Safarnaama fund provide a vital alternative to traditional studio systems, which often prioritize mass-market commercial viability over culturally specific, regional auteur-driven projects.

Industry analysts suggest that the growing accessibility of international co-production networks—combined with localized venture grants—is helping to decentralize Indian cinema. By positioning regional languages not as niche novelties, but as legitimate vehicles for universal human narratives, these funds allow local stories to resonate globally. As Kakthet moves closer to principal photography, its journey from a regional script to an internationally backed co-production serves as a blueprint for how independent filmmakers from marginalized or geographically isolated communities can navigate the modern global cinematic landscape.