BIFFes 2026: Fans thrilled as Kaikini shares words of wisdom with a touch of humour

Jayant Kaikini captivates BIFFes 2026 audience with humorous insights on songwriting and storytelling in Kannada cinema.

Whistles and claps filled the auditorium at Lulu Mall in Bengaluru as Kannada writer and lyricist Jayant Kaikini reflected on cinema. Kaikini is no less than a superstar of Kannada cinema, and the rapturous response during the session at the 17th Bengaluru International Film Festival was proof.

Kaikini’s thoughts on writing songs and screenwriting were marked by great wit. “Imagine writing your first love song at 52!” he said about penning the superhit song Anisuthide Yaako Indu from Mungaru Male (2006), the film that spurred Kaikini’s glorious journey of writing evergreen lyrics for Kannada films.

Talking to writer, director, and editor Prasanth Pandit, Kaikini spoke about the practical pressures of writing romantic numbers. He said, “Around 70% of the songs in cinema are about love. What other option of words do you have besides olavu, nalivu, hasiru, and usiru? Every time, you have to think of a new expression to talk of love.”

Speaking on films, Kaikini said the more personal the stories, the bigger the impact they have on the audience. Even the great Kurosawa (Akira) made films from his experiences, he said. Kaikini, author of several collections of short stories and poems in Kannada, said songwriting didn’t necessarily need workshops. “You find a voice of your own by voracious reading and practice. If you go to a school, the results will appear like identical-fit men from a gym or a bunch of women with the same bridal makeup.”

On films adapted from novels and short stories, Kaikini felt it is unfair to expect a perfect translation on the big screen. “Cinema is a different medium. When you read a book, you visualise a film based on the story. So your expectations are different right from the start.”

Kaikini revealed that in his case, reverse osmosis occurred after his success as a lyricist and film writer. “Several of my works were republished after the success of Mungaru Male,” he said,explaining how writing shouldn’t be mistaken for only dialogues in a movie. “Silent movies of Charlie Chaplin had extensive literature. Satyajit Ray would draw every shot of his movie.”