Aruna Vasudev (1936-2024): Remembering the maa of Asian cinema in India

The words ‘critic’ and ‘curator’ need a new definition in the world of cinema and art, as their meaning has lost its gravitas with the recent demise of Aruna Vasudev. A renowned Indian film scholar, film critic, festival curator and painter, she was a multifaceted personality whose warm smile and soft voice illuminated numerous social gatherings and cultural events in Delhi-NCR. But her life was one that was truly and passionately dedicated to the love of cinema, which earned her the epithet, Mother of Asian Cinema. 
Born in 1936, when India was still a British colony, Vasudev fanned the magic of Asian cinema among Indians through her varied initiatives that included several film festivals. “She introduced Asian cinema to India. Before her, international cinema was only about Hollywood and nobody cared about Turkish, Middle Eastern and Japanese cinema. For instance, we never went to see Akira Kurosawa films before she introduced them to us since their concept was alien in India back then,” recalls Pratibha Prahlad, Bharatanatyam dancer and educator, adding, “I still remember that day when Aruna’s sister, (late) Uma had brought her to our place in Delhi and since then she became my extended family. Aruna was a force of Nature, extremely independent, very bohemian in thought and action, and lived her life to the fullest without a care to the world! When I told my son that she is no more, he said, ‘It’s not possible; she’s indestructible’… For me, her name will always remain synonymous with love, warmth and cheer.” 
Many in the Capital still recall the grandeur of Osian’s Cinefan Festival, which was Vasudev’s brainchild, and a significant milestone in shaping the modern Delhi’s cultural landscape. Back in the day, it’s here that this curator would screen films from India, Asia and the Middle East. But she had to draw the curtains on it in 2012. However, nothing could stop Vasudev’s passionate affair with films. “I travelled with her to the Hainan Film Festival (2019) in China, where she served as a jury member. It was there that my journey to film her began as the festival proved to be a fitting backdrop, and was the last one she participated in,” recalls Supriya Suri, filmmaker of the documentary, Aruna Vasudev: Mother of Asian Cinema (2021).
Suri remembers, “Despite her age, Aruna Vasudev’s energy, insights, and enthusiasm for life and cinema remained remarkable. Although she was known as a writer, critic, and programmer, her influence extended far beyond those roles. Many filmmakers and younger generations approached her, expressing how she had profoundly impacted their lives. It became clear to me that her influence was truly global.” 
In the later years of her life, Vasudev developed an interest in Japanese ink painting, Sumi-e, and even exhibited her artworks. “It was amazing to know how she went into painting,” shares Kathak exponent Shovana Narayan, adding, “Aruna was so knowledgeable in cinema, but was also very keen to know what was happening in the field of dance and would often ask me about my research work in the field… Both Aruna and I were very interested in Buddhism and Buddhist philosophy and we’ve had a long association on different fronts. But what I still vividly remember is when Kargil happened (in 1999). At that time, Aruna, Naresh Kapuria (artist) and I formed a core team that brought all the artistes together to contribute to the Prime Minister’s National Relief Fund. That’s how Aruna was, in a very simple and smiling exterior she was such a warm person who was full of depth and knowledge.”