Tag Archives: Rima Das

Cinematic Gold from Bollywood and Beyond

The advent of winter brings with it the annual 3rd i Film Festival, a visual smorgasbord of fresh perspectives and brave new voices by independent filmmakers from South Asia and the South Asian Diaspora, including stories from India, Sri Lanka, UK, Italy, and the USA. 3rd i’s 17th Annual San Francisco International South Asian Film Festival: Bollywood and Beyond (SFISAFF) launches at the New People and Castro Theaters in San Francisco from November 7-10, moving to Palo Alto on November 16. Some of the movies are unafraid to explore issues that are uncomfortable, give voice to the oppressed and shed light on matters often overlooked or ignored.

A highlight for this year coming straight out of TIFF and Venice Critics’ Week is Gitanjali Rao’s animated feature Bombay Rose. In the rich, colorful and layered hand-painted animation there is an ethereal brightness to the chaotic Mumbai streetscapes where Bollywood cinema is both satirized and romanticized, and small town folks in the big city can be crushed by its mean streets, or redeemed by love. The film moves seamlessly between a documentary feeling of present-day struggles in Mumbai, to the lusciously designed dream sequences set in ancient India and inspired by Mughal folk art. Yoav Rosenthal’s original score merges swooning ballads with traditional Bollywood music and a haunting Latin love tribute.

A still from Bombay Rose

This year’s special focus is on Young Voices, with a host of films that feature stories with strong youth characters. Dar Gai’s Namdev Bhau: In Search of Silence is a witty, off-beat take on the road movie, set against the breathtaking landscapes of Ladakh. The film features an inter-generational storyline about the relationship between a young boy and an elderly man, as they head for the peace and tranquility of the Silent Valley, leaving the hustle and bustle of the city behind. Filmmaker Gai, a philosopher by training and originally from Ukraine, has made India her filmmaking home and is touted as an exciting new voice in Indian cinema.

A still from Namdev Bhau: In Search of Silence

Also part of this youth focus is Rima Das’ Bulbul Can Sing. The film takes us back to the timeless beauty of the northeast in this bittersweet narrative that draws inspiration from her own experiences of growing up in the Assamese countryside. This is no simple rural idyll however; in Das’ deft hands, the film transforms into a deeply compelling exploration of love, loss, and adolescence.

A still from Bulbul Can Sing

Safdar Rahman’s heartwarming story of young Chippa features Sunny Pawar (award-winning child star of LION). Chippa sets out into night-time Calcutta looking for a father he has never seen, finding a city of migrants who speak in a curious mix of languages. Chippa is not oblivious to the grim reality and communal suspicion surrounding him, but chooses to encounter this world with a mixture of bravado, curiosity and humor.

A still from Chippa

Another film in the youth category is The MisEducation of Bindu screening in Palo Alto, which premiered at Mill Valley Film Festival, and follows a day in the life of formerly homeschooled Bindu as she endures an American high school and tries to graduate early. Her mother does her best to keep Bindu on track while maintaining her South Asian heritage, and her clueless stepfather tries to give Bindu advice on boys and high school life in America. Paying homage to Bollywood rock with one fantastical Bollywood dance number, Bindu dreams about escaping and longs for her home in India. Director Prarthana Mohan will be present for a Q&A session after.

A still from The MisEducation of Bindu

 

Rounding out the youth films in Palo Alto is romantic comedy Bangla, with Phaim. An awkwardly charming 22-year-old Italian-Bengali panics when he falls in love with an impulsive and spirited Italian girl. The attraction between them is immediate, and Phaim will have to figure out how to reconcile his love with his life full of rules. This whimsical lens on the clash of cultures is based on the director’s own life, who plays the lead fictionalized version of himself.

A still from Bangla

 

Another stellar narrative in Palo Alto is Rohena Gera’s Sir, which premiered at Cannes Film Festival. A nuanced and sensual film, it explores the forbidden attraction between Ratna, a maid, and her employer Ashwin, a wealthy Mumbai bachelor, with each character quietly yearning to break free from the narrow bounds of their class and gender-based expectations. Gera achieves a particular delicacy in her directing, combining an appealing, understated sweetness with an edge, and thwarting all expectations and stereotypes of a typical Indian love story.

A still from Sir

 

The festival features stories of addiction, which includes acclaimed black and white photographer Ronny Sen’s indie Cat Sticks. A gritty and haunting narrative, the film follows the stories of several addicts looking for the high of halogen, a synthetic brand of heroin that created havoc in India at the turn of the millennium.

A still from Cat Sticks

 

The other film in this focus is Bhaskar Hazarika’s quietly shocking The Ravening (Aamis), which opened to great acclaim at the Tribeca Film Festival. An unforgettable meditation on taboo and transgression, the film blends gentle romance and body horror into a unique cinematic experience. Hazarika masterfully concocts a tale of love and addiction that builds slowly – from a lilting rhythm to a pounding finale.

A still from The Ravening (Aamis)

 

While this year’s program predominantly showcases narrative features, documentaries are also part of the lineup. Equal parts comedy and self-discovery, Laura Asherman’s intimate doc American Hasi is a portrait of Indian-American comedian, Tushar Singh. In an attempt to accelerate his career, Singh maps out a 35-day tour in India (with his mom in tow), taking part in India’s flourishing stand-up scene.

A still from American Hasi

Comedy also features prominently in this year’s edition of Coast to Coast, 3rd i’s signature shorts program which brings California filmmakers into conversation with filmmakers from South Asia and the Diaspora. The program includes Varun Chounal’s Gabroo about a young Sikh boy’s complicated relationship with his hair, Mahesh Pailoor’s portrait of Pakistani-American comedienne, Mona Shaikh, and Andrew Sturm’s political satire on the border wall, 31 Foot Ladders, along with a variety of short docs, narratives, and music videos.

A still from Gabroo

This year for the first time in the festival’s history, 3rd i will offer a free Master Class in filmmaking from the talented documentary filmmaker Nishtha Jain (City of Photos, Lakshmi and Me, At My Doorstep, Gulabi Gang). Jain returns to SFISAFF to talk about her filmmaking process, to present excerpts from past work and the present, and to talk about the different social and political movements in India and its alignment with her work. Jain’s work holds up a mirror to some of the most pressing concerns in India today, including India’s #metoo women’s movement.

Documentary filmmaker Nishtha Jain will offer a free Master Class in filmmaking.

Women’s issues are at the forefront of several other films in the lineup. Vasanth S. Sai’s Sivaranjani and Two Other Women pays a cinematic homage to the “everyday” woman and is a deeply moving work that focuses a critical lens on patriarchy, with outstanding performances by each of the lead actresses. The film captures the micro awakenings of identity and self-worth when family dynamics, early marriage, and pregnancy threaten to usurp the individuality of three women, unfolding across three different time periods.

The festival brings back Sri Lankan director Prasanna Vithanage with a screening of the historical epic feature Children of the Sun (Gaadi) about a Sinhalese Buddhist woman in the 1814 Kandyan Kingdom of Sri Lanka, stripped from nobility, who subverts the destiny forced upon her. His searing masterpiece is a period drama that takes on caste conflict and British colonial influences in Sri Lanka in the early 1800s. Director Vithanage will join a panel discussion following the film.

Among the voices to amplify, LGBTQ+ themes feature prominently in Poonam Brah’s Home Girl  about a British lesbian woman’s coming out story while navigating her mother’s death in Coast to Coast, 3rd i’s shorts program, as well as Ronny Sen’s Cat Sticks illuminating the life and trials of a transgender sex worker, and Rima Das’ engaging youthful exploration Bulbul Can Sing.

Castro Passes ($35) are only available online until Nov 5. Tickets to individual films are $11/online and $13/at the door. More information about the festival, including expanded program, guest and ticketing information, please visit www.thirdi.org

 

Mona Shah is a multi-platform storyteller with expertise in digital communications, social media strategy, and content curation for Twitter, Facebook for C-suite executives. A journalist and editor, her experience spans television, cable news and magazines.

Cover photo credit: 3rd i Films. 

This article was edited by Culture and Media editor Geetika Pathania Jain.

Missing Village Rockstars from Assam at Oscars 2019

Village Rockstars, India’s official Best Foreign Film entry for the 2019 Oscars, didn’t make it to the final nominations list. Critically hailed in India and on the international stage, the movie is a fine piece of work by Rima Das who directed, wrote, produced, edited, production designed, and shot it all by herself over a period of 3-4 years.

This was her second film. Even though Rima wasn’t formally trained in filmmaking, the idea gained roots as well as wings. She didn’t have a storyboard either. All she had was instinct and the drive. The story of her protagonist Dhanu is universal as much as it is personal. The end result breaks a few ‘industry’ rules in the process. Rima subtly points her lens towards societal norms which apply to girls, making it a compelling commentary with a solid voice.

Dhanu is inspired by the all-boys band or the village rockstars, and despite hardships, barriers and natural calamities, dreams of possessing her own real guitar. Shot in documentary style, Village Rockstars captures its characters in a natural form amid different seasons, within the village setting. The story is simple and observatory in its narrative and subtly shifts the focus to complex topics of gender norms.

Rima had spent almost 8-9 years in Mumbai struggling, looking unsuccessfully for acting jobs. She had “lost touch with her soul” and suffered depression. So she decided to return to her roots in Assam and put herself back together by making movies in pristine surroundings, aided by her mother’s food. She spent two years making her first movie Man with the Binoculars: Antardrishti (2016), hoping to realise her acting career. This is when Rima realised what she was missing in Mumbai, while chasing ambition.

She found what was lost after a chance encounter with children lead her to observe these village ‘rockstars’ in their natural setting. Through them, she learned how to unlearn, see beauty in ordinary, do simple things and rediscover her own village.

Her own childhood inspired her to create the spunky Dhanu, she reveals with a heady giggle, “My mother used to beat me up. I was very naughty” at the first-even Indian screening of Village Rockstars at MAMI (Mumbai Academy of the Moving Image) in October 2017. She follows it up with a quick defence: “I am what I am because of my mom.”

It is easy to see how her effervescent personality would have helped her collaboration with the children and enabled her to create a fictional story around their daily lives. Their parents weren’t very happy but they allowed it, the rookie crew have now formed a strong bond. The movie couldn’t have been made without them, says Rima. At the conference, she patiently waits for the entire team to arrive on stage before she starts speaking. She watches indulgently as Bhanita Das, the child actor who played Dhanu, insists on unpacking and holding the mock guitar which they have carried from Assam, for the audience.

As a child, Rima watched Bollywood movies like everyone else. Her Mumbai stint expanded her horizons. Piquantly, she first felt she could attempt a movie after watching Satyajit Ray’s Pather Panchali. “Then I started watching international makers like Abbas Kiarostami, Majid Majidi, Ingmar Bergman and Andrei Tarkovsky,” she says.

Although influenced and inspired by filmmakers across the world, she was sparked by her own idea, “I forgot everything while filming, and I shot just what I saw. It had a documentary feel because that’s how I viewed life in the village and my characters.” Her style developed naturally, on the go. “Nothing was planned, and yet I was clear that’s exactly how I wanted it captured. I am not bound by any theories as I am not trained. Whatever I learnt is by watching movies.” Her production company is called Flying River Films.

Rima’s influence comes with tangible results. Similar to her guru Ray in Pather Panchali, she won the Best Feature Film at National Awards for Village Rockstars.

This year, Short Film Period. End of Sentence., an external lens on Indian women and periods, has been nominated. It has been directed by Rayka Zehtabchi, an Iranian-American film director based in Los Angeles. While it comes loaded with sparkling and good intentions, as a creative piece, it falls, well, short. Why Village Rockstars, Rima’s visually lush and poetic take on contemporary rural India, didn’t make the cut we will never know. Meanwhile, Rima has moved on to Bulbul Can Sing, a movie about three teenagers and acceptance of their own sexual identities. This director continues to sing her tune, Oscar or no Oscar.

Hamida Parkar is a freelance journalist and founder-editor of cinemaspotter.com. She writes on cinema, culture, women, and social equity.

This article was edited by Culture and Media Editor Geetika Pathania Jain, Ph.D.