I always wanted to represent India at such a big stage
Indira Dhar Mukkherjee is going to Cannes with her very first film! The director’s first feature Putul, with an exceptionally talented cast that includes Tanushree Shankar, Mumtaz Sorcar, and Koneenica Banerjee is premiering at the 77th Cannes Film Festival’s Marche du Film.
Mukkherjee could not be more excited. “I always wanted to represent India at such a big stage,” she told India Currents’ Umang Sharma in an exclusive interview.
She shared insights on the film which focuses on India’s street children, her journey to Cannes, and what Putul means to her.
The 77th annual Cannes Film Festival runs from 14 to 25 May 2024.
This interview has been edited and condensed for clarity.
How does it feel to have your very first film premiering at one of the biggest stages in cinema?
It is a dream come true moment for me. For any filmmaker, this means a lot and is a huge thing. When we make a film, we have a lot of dreams but we don’t know whether we will be able to fulfill them and make them a reality.
Putul is my debut feature film and like any other debutant, I had a lot of reservations, a lot of apprehensions. I remember the day I submitted the film, this year it was one of India’s official submissions for the competition at Cannes. But I had that courage, and I think every filmmaker should keep that courage irrespective of whichever background, or region he/she is coming from, or what language of cinema they are in.
I feel fantastic at the moment.
How does it feel to represent India at Cannes?
I always wanted to represent India at such a big stage and my focus was completely on it. I will not shy away from the fact because I want to take Indian cinema to such a level or platform where it is widely accepted and internationally watched. It is a (proud moment) for all of my team members to have the opportunity to represent India.
Tell us a bit about Putul. How did you come up with the idea?
Everywhere in India you go, in most cities, you will find a child knocking at the window of your car, asking for money.
About 8 or 9 years back, I witnessed the same. I rolled down the window and asked the child – a 5 or 6-year-old girl – if she was alone and why she was begging on the streets. She said something very interesting. “I don’t want any money. Can you please give me something to eat?” That was the moment.
I did not know how I would make it, the avenues, what would happen, where it would reach, and whether or not I would be able to make it. It included a lot of research work on all the characters but finally, I did. Putul is their film, I just made it. Putul is the film of every street child living in India and across the world. This is their story and I replayed it.
What according to you about Putul will resonate with Indian as well as the global audience?
It is a global cause. Among war, religion, and everything, I think the biggest issue in this world at this moment is that we have countries where children are living on the streets.
For citizens of my country, the message of the film is very clear. My request [is] do not wait for anybody to come forward. What are we doing as citizens? Can we do something and bring a change, make a difference in our own little way?
Whatever has been done so far, I think the kind of population we have is a huge task. You cannot actually blame anybody. It is the population. It is something recurring we will have to do and it is a joint effort.
It is only possible if all of us think alike. We need to open more evening schools and do things where the street children would profit. And I have contributed in my own way by making this film. I am trying to put across a message at a global stage that everybody please come forward for children who are languishing on the streets.
Do you think after premiering at Cannes when the film releases in India, it will educate the masses?
Yes, of course. I feel we shouldn’t blame any government. My question is why will we blame any government? Do not blame anybody. We are the citizens of the country and we should do something about it.
There are so many independent NGOs (non-governmental organizations), evening schools, eating homes, there are so many citizens who are already doing a lot of things. Just that we need to be more in number.
The biggest problem in India is not religion. It was never religion. The biggest problem in India is after so many years of independence, we still see children living on the streets and you can’t blame anybody. Look at our population.
We have to do something. Citizens will have to come forward and do something. There is no other way.
Do you think Western audiences view Indian cinema with a particular gaze? Do you think your film will add to it or break that gaze?
When it comes to Indian cinema, the first thing they look at is the music, which is very different. Even for Putul, we focused on the music in a very different manner. There were a lot of options, we had a lot of brainstorming sessions, but we actually, went the way like any other Indian film recently went international. We used very Indian classical music, fusion music, and Indian music.
India is a country which is rich in art and culture. We have our taste. [Western} taste is very different from ours. [Western] culture and art are very different from us. We can only highlight what we are good at.
If I watch an American film, that should be very different from a French film. So yes, of course, Putul is very different, it is not a Hollywood film, a French film, it is of India. It is a simple Indian film where people can connect and understand.
Tell a bit about the cast of your film and how you zeroed in on them?
Two characters – Tanushree Shankar’s and Mumtaz’s character were cast two years ago.
People told me not to cast Mumtaz. Some producers backed out from the project because I was casting her and I backed out from their production house. I did not want to make the film with them. Because when I cast somebody, I know the character because I have crafted the character. Nobody other than the director and the writer. Now, in this case, I am the director and I am the writer, I can see the character. Both these characters have done a fabulous job.
Mumtaz did not even shoot for any other film when she was shooting for Putul because she was totally into the character.
Tell us a bit about your journey to Cannes?
I would like to tell all the debutants or filmmakers who want to reach Cannes, nobody can help you. If anybody tells you that I can take you to Cannes, it’s a lie. Just make a good film, and have an impactful story. You will have to slog. You will have to make a film and follow their protocols online. If selected, yes, if not then that’s your destiny.
There is no second person you can run to for an entry into Cannes. If your film has merit, you will be there. Cannes is a very merit-based film festival. It is a very fair festival because it does not even have a festival curator. Only you can help yourself. Make a good film.
Who are your inspirations in cinema?
I am a huge Shyam Benegal fan. The way he narrates his stories in his films is something I like a lot. I like Satyajit Ray and Mrinal Sen but I can’t shy away from the fact that Rituporno Ghosh and Aparna Sen are some of the best directors we have in Bengal.
Aparna Sen has done films, that I think which were always way ahead of time. The same thing with Putul is that it’s not a very conventional Bengali film.
Apart from this, I like Sanjay Leela Bhansali if you talk about commercial films because his films have larger-than-life sets.
What’s next for you?
I want Putul to be watched by everybody worldwide. For me, Putul has just started its journey and I have a long way to go with the film.