International award-winning writer, independent filmmaker Jennifer Alphonse went to Afghanistan to shoot her film and returned to tell the tale. By Saimi Sattar

A woman. A filmmaker. In Afghanistan. While separately, the three words are nothing out of the ordinary, the confluence can be explosive, figuratively...and literally. Jennifer Alphonse, the Hyderabad-based international award-winning writer, independent filmmaker and producer has been there, done that. While her work encompasses a wide range of subjects, styles and techniques in documentaries, short films, commercials, music videos and more, it is Habeeb, a video that she put out on August 15 — the day that Taliban captured Kabul — that grabbed eyeballs. Gleaned from snippets of her shoot in the troubled country in 2017,  for a film that is yet to be completed, the wistful montage against the background score in Pushto is haunting.

Even earlier the filmmaker has delved into topics that weren’t approached by others. Her debut documentary, Kachra, which traced two rag pickers, won three Golden Nandi State Awards. Her second, Strangersss, inspired by an Indian cab driver who saved a foreigner, was selected at the Cannes Short Film Corner and won more than 14 international awards. Alphonse’s first full-length documentary, The Take Over, featured conversations with Indian filmmakers and technicians and won the Royal Reel Award at Canada International Film Festival, 2016, and featured at the Cannes Festival in short film corner segment and won 12 international awards.

She documented ancient traditions, customs and artistic heritage of tribes from Telangana in Nagoba Jathar that won three prestigious awards at Quetzalcoatl Indigenous International Film Festival, Mexico. Another documentary, Gussadi, allowed Alphonse to capture hundreds of photographs, that are now part of the book, Gussadi – The Celebration of Being God.

Excerpts from an interview:

Afghanistan has been in the throes of turmoil, it seems, forever. But what are your impressions behind the headlines?

I feel about the country because I’ve been there. I know how warm the people are and the way they are projected in the media. There is heartache and I feel sad about them. Several of my friends have left the country. Once they do, there will be some respite. But I feel sad for all the ones left behind and helpless as I can’t do much except pray.

The day the blast took place at the airport, my friend was actually supposed to board a flight. For some reason, he didn’t go... and thank God for that as the entire family was saved.

So, was Habeeb released due to the capture of Kabul? What have been the reactions like?

This release of the song was not planned for release now, it got delayed earlier for several reasons. It was a sheer coincidence that it happened now. We did it for several reasons... August 15 is our Independence Day and the song talks about patriotism. Also, my project got greenlit on August 15... so a lot of things came together.

My producers and I understand that it is not sure when the crew and actors, especially the Afghans, who worked for the film will come together and finish it as each one has migrated to a different country. If the Taliban does not allow cinema, it will become one of the last films shot in Afghanistan. So, Habeeb was a dedication to all the actors and technicians and the people of Afghanistan. At the same time, it is a glimpse to showcase what we have shot there. So, instead of it being in Hindi, the language in which the film was being made, we thought it would be best to have it in Pushto.

When were you in Afghanistan? How much of it remains to be shot?

We had shot for close to 25 days and had a month left before twin suicide blasts near the Afghan Parliament in January 2017 forced us to come back. We thought we would go back and even left our equipment as the second half of the story was to be shot completely in Afghanistan. Our producer, Habeeb Safi is also an Afghan. But things went haywire. We thought we’ll bring them to India but there were visa issues. Now, of course, we aren’t going back.

What were the difficulties you faced while shooting and how did you overcome those?

We experienced near-death situations three-four times. A couple of times, we were informed by intelligence that there was a sniper aiming at us. The suicide bombers, which forced us to return, had actually passed close to our car a day earlier. One day, we were shooting on land mines and had to evacuate. At one point people thought we were Pakistanis and arrested us. There was a big scene and my producer had to come running with permission and clearance papers to prove that we were legitimate filmmakers from India who could actually be googled! It was only then that they believed and let us shoot... There is so much that I am planning to write a book about what we went through.

But we were ready for it as we knew we weren’t going to Switzerland (laughs). Even when we were in Delhi people were questioning us as to why we were going to Afghanistan and when I told them, “to shoot a film”, they replied, “Isn’t there any other place to shoot in?” But I don’t regret it. It was worth it. With the current situation, I would have regretted it if I would have not gone. It was a lifetime opportunity to see, meet and bring to life my imagination... I feel so lucky and, also, blessed.

Afghanistan is a very patriarchal country even without the Taliban. Did people have problems following orders given by a woman?

My crew, not at all. When it was announced that an Indian crew was coming with me at its helm, more than 200 actors came forward for auditions.

Technicians who had worked in Iranian, German, Polish and other international projects signed up for the project. 

The 30 actors and the technicians had no problems in taking orders from me or looking up to me as a director. I got my respect. They had no qualms when I wanted retakes. Hanif Humghum, a senior actor,  who was in Kabul Express was also a part of the film.

Everyone was very protective. The entire crew was very protective as they knew that, outside the bubble, things were not safe for me. 

I only had one problem, the language barrier which was taken care of by Nasir Hashmi, my first AD, who was from Kabul. The cast and crew understood my gestures and when either side spoke, he translated.

Very few women wore a burqa.. maybe only about 10 per cent though they did cover their hair.

So, you were shooting in the interiors as well?

We were shooting everywhere. Jalalabad, which is 30 km from Pakistan, and Panjshir (the stronghold of Northern Alliance which fell to the Taliban recently). We even shot in a Pakistani truck...

And while watching Habeeb, I thought that this kind of art is usually seen on Pakistani trucks...

It is the only truck that goes from Rawalpindi to Jalalabad and I was waiting for it as the character travels the route. I wanted it in the film else people would not have believed that we actually shot there. We had fantastic experiences... people did call me mad. And there was a bunch of madcaps that went with me. Today, I am proud of the work we did because these people believed in the film and the story.

People often do not put out work before the film release but this (Habeeb) was needed. Going, shooting and coming back alive were achievements. It’s important to cherish those moments as we don’t know what the situation would be like in art or cinema.

Not many people make documentaries in India. The adulation of the audience is reserved for feature films.

When I went to Paris and Cannes, I saw the respect, love, adulation that documentary filmmakers get. It is unparalleled even by mainstream filmmakers. Here, people still ask me, “When are you making a film?” Documentaries are not considered ‘films’.  These two are different platforms.

Stories should be told in different formats. We are in the digital age and have different platforms so why should you put yourself in one box. I love to experiment with all formats. Feature films, documentaries, books, animation... whatever form and platform it takes to tell the story in the most engaging manner.

In feature films, you control the story, the lighting, the actor. In documentaries, that does not happen. Events are live and that maza (enjoyment) is different. There is no manipulation. Of course, you are telling a story so there is a voiceover. You are capturing everything raw and translating it for an audience to see.

I am kicked about both. And every other platform...

Future projects?

There are other two documentaries which I have to completed and there is another Telugu feature film which I have finished but is delayed thanks to covid. And then, there are ads... my basic source of survival.