My Melbourne Wins Big on Global Stage: A Victory for Cross-Cultural Storytelling

From local screens to international acclaim, this anthology has become a cinematic mirror to Australia’s evolving migrant identity.

When My Melbourne premiered at the Indian Film Festival of Melbourne (IFFM) in 2024, it was received with admiration as a new kind of storytelling, where lived migrant experiences weren’t just observed, but created by those who lived them.

Less than a year later, the film has earned significant international acclaim.

At the 27th UK Asian Film Festival, My Melbourne was awarded Best Film, and its segment Longing and Belonging received a Special Festival Award for its exploration of identity and belonging (Outlook India).

The film has garnered praise from government and cultural leaders. Colin Brooks, Victoria’s Minister for Creative Industries, stated: “My Melbourne is a celebration of our city, our screen industry, and the many cultures and diverse communities that call our state home.”

Mitu Bhowmick Lange, producer of the film and director of IFFM, said in response to the UK win: “We are incredibly honoured and grateful for this recognition. My Melbourne celebrates authentic, diverse voices and lived experiences. I’m humbled and proud to be part of this journey” (Bollywood Hungama).

One segment, Setara, follows a young Afghan girl who rebuilds her life in Melbourne through cricket. The story is based on the real-life experiences of Setara Amiri, who plays herself in the film. She arrived in Australia after fleeing Taliban persecution in Afghanistan.

This segment has been recognised for its emotional depth and for allowing a refugee to speak for herself, on screen, and in her own words.

According to the Afghan Women’s Team: “This film powerfully parallels the lived experiences of the women we stand beside. It’s a cinematic reminder that rebuilding a life is both deeply personal and profoundly universal.”

For many members of the Indian Australian community, My Melbourne doesn’t just “include” them—it validates them.

It reflects the complexity of growing up in a country where your cultural identity is often fragmented or questioned. “Watching Setara reminded me of my own mother’s struggle to find belonging when we moved from Punjab to Melbourne,” said Priya Singh, a nurse from Dandenong. “For once, it felt like our lives mattered on screen.”

“Storytelling is not about representation. It’s about participation.” — Onir

(This quote is taken from his media commentary around the film’s development at IFFM.)

Tirath Khehra, one of the emerging filmmakers involved in the project, shared: “It was the first time I saw my experience, growing up in Melbourne as the child of Indian parents, reflected onscreen without caricature or apology.”

How “My Melbourne” Showcases Australia’s Cross‑Cultural Storytelling Power

The film’s participatory storytelling model has also been applauded by cultural organisations like Diversity Arts Australia, who continue to campaign for systemic change in how Australian stories are commissioned and told.

Rather than simply hiring diverse talent, My Melbourne shifted power to community voices. Filmmakers from underrepresented backgrounds weren’t just invited to contribute; they were mentored to lead. This co-authorship model was supported by agencies such as VicScreen and the City of Melbourne.

This marks a rare instance of an Indian-Australian production that is neither Bollywood nor whitewashed, but local, layered, and inclusive.