In India, economics interferes too much with art and we don’t give the script the importance it deserves, Nandita Das tells Karan Bhardwaj post-jury duty at Cannes. She will feature in two international projects, Traces of Sandalwood and Corpus
At 43, acclaimed actor, activist and director Nandita Das has acted with great directors, made a soul-stirring film and won many laurels including the highest French civilian award Chevalier des Arts et des lettres. In 2005, Das was a member of the main jury at Cannes Film Festival. Eight years later, she returned to be a part of the Cinéfondation Jury — the student section of Cannes. Enriched by this experience, she shares thoughts. Over to her:
This is your second outing at Cannes...
It is a real honour to be called back just after eight years of being in the main jury. This time five of us, headed by the wonderful filmmaker Jane Campion had to judge two sections. One was Cinéfondation, where 1,550 films had come from 227 film schools, of which 18 were chosen for us to award the best films. As there was a provision for giving two films the third prize, we decided to make the most of it! After all the more students we help, with the cash prize and recognition, the better. The other section was short films, where out of 3,500 applications, only nine were selected for us to see and we had to choose the best short film for the Palme d’or.
Here too we decided to be generous and give two young filmmakers a jury mention, which again is not at all mandatory. While the jury was smaller, in terms of size and responsibility, but it was no less joy to see and deliberate about the films. Apart from that I had the pleasure of watching some amazing feature length films and interacting with directors like Alexander Payne, Christian Monjou, AniasVarda, Ang lee and other actors and producers.
What is your idea of a film festivalIJ
A film festival is not about who wears what, but how the mind gets stimulated and opens to new ideas. It is about expanding one’s understanding of films and growing with new ways of looking at life. These experiences are a learning process that subconsciously helps one’s own way of thinking and expressing.
Why are Indian films not getting selected in competitive sectionsIJ What’s lackingIJ
We don’t push boundaries, as we are always worried about “how will it work”. And when we say that, we usually mean financially. In our country, economics interferes too much with art. And the more local, contextual and honest films we make, the more global or international they will be. In India there is no dearth of stories, both in life and literature. But sadly, we don’t give the script the importance that it deserves. There may be some merit also in the fact that not all good films know how to reach big festivals and there is no public or private body that supports the good films made by less known directors or producers, and therefore selection is often from more accessible ones. Having worked in 10 different languages, I know that regional films often don’t get their due.
Why is popular Bollywood becoming face of artistic Indian cinema at CannesIJ
Popular cinema will always overshadow the independent ones. This is true of Hollywood or any mainstream cinema. Sadly Indian cinema is seen only with the narrow definition of Bollywood, or Hindi mainstream films. But slowly this is changing, with different films screened at international festivals. As ours is a land of diversity, gradually a truer picture will emerge of all that India comprises.
What about screening regional films at CannesIJ
I myself have travelled to many festivals, like Toronto and london Film Festival with regional films. Cannes, in earlier years has shown films by directors like Shaji Karun, Mrinal Sen and of course Satyajit Ray. Even this time the restored print of Charulata was given a special place.
Although it is true, in recent times Hindi cinema is finding greater space in festivals, as they too are under financial pressure of making them more popular. I do hope that organisations like NFDC will take greater interest in supporting regional cinema.
Tell us about forthcoming movies: Traces of Sandalwood and Corpus.
These are two projects yet to be fully funded, but interesting. I am engaged as an actor and director, respectively. Traces of Sandalwood is a Spanish film with half shot in India, with an Indian cast. It is about two sisters. I play one. The other is a Sri lankan-Catalan actor from Barcelona. Shooting is in Mumbai and Barcelona. This time when I was in Barcelona, before going to Cannes, I saw many locations and met the team. All heads of departments are women! Maria Ripoll is the director and Anna Soler-Pont is the producer. Corpus is an exciting project that explores different perspectives on the body. Seven directors from around the world will make short films that will be strung together by the French producer and his team. I met one director, Naomi Kawase, who was in the main jury at Cannes this time. I have been in conversation with leslie Grunberg, the producer for several months. I met him at Cannes. There is complete freedom in how each director explores the subject. I am itching to begin. But they too are still working too close to financials. I hope both get fully funded and go on floor this year.
We heard you plan to direct a filmIJ
All I can say is I am excited to have found a story that I find compelling. As filmmaking is a long journey, it has to sustain one’s interest for a whole period. I am now looking for the right writer. But I am in no hurry to shoot. I want to give the research, writing and all that goes into planning a good shoot, time. Sorry, I cannot say anything about the subject.
In a 16 year career, you haven’t done commercial cinema. WhyIJ
I never classified films as art or commercial, Hindi or regional. I do films that resonate with my sensibilities, in which ever genre it maybe. My background is of social work and I am sure the experiences I have had in my human rights’ work has impacted my film choices. I have instinctively anchored towards projects that I could relate to, which resonated with my interests, concerns and dilemma. There have been some films that didn’t turn out the way I had imagined them to. But I am happy that I made those choices for honest reasons. What I look for is a good script, and a director who can translate that into an interesting cinematic experience. And a role that’s challenging and relatable. Often, all these things don’t come together as there are many factors involved in filmmaking. All said and done, it is a gamble. But the only thing I can confidently say, is that the criteria for choosing a film is not been based on reasons other than the ones mentioned above. We all need money to make ends meet, but it’s a relative need and there is really no end to wanting. I believe if you earn less, you spend less and therefore, you have to make fewer compromises. Once you enter the vicious cycle of wanting more, it is tough to get out or keep the purity of your intent. Besides I didn’t grow up watching mainstream films, so I never really developed a taste for it. I want to be happy doing what I do. In the process I may have lost a lot of good roles, as even alternate filmmakers want a more marketable actor. But you cannot have it all. Thankfully, I am not a full time or ambitious actor, and I have other interests and things to do that keep me gainfully busy. So I am not complaining.
The output of women directors is not showing up. WhyIJ
The film industry is only a reflection of society. When it will see more space for women in different spheres, it will also reflect in the number of women making films and the kind of portrayal we see in cinema at large. There is a slow change happening and we are seeing more women directors than we ever. But still a long way to go!
Do you think women cinema as a category is still relevantIJ
A director is a director. Gender shouldn’t matter. I used to find it strange when journalists would ask me what it felt to be a woman director! When I am directing, I am not consciously playing out my gender. But the point is that every category of people will have a certain perspective and that needs to be represented. So a female gaze, which is sub-conscious, is also needed.
Doordarshan decided to broadcast independent films, also films by NFDC and CFSI. How do you look at this stepIJ Isn’t NFDC and CFSI doing work less activelyIJ
Sadly the govt bodies are structured in a way that performance is not held accountable. I tried to make many small and big changes in CFSI during my three-year term, but often got frustrated. I am primarily an optimist and believe government organisations are needed to further the interest of good cinema. I welcome the decision of DD to show independent films on TV and broaden its viewership. I am part of the advisory committee for the revamp of Prasar Bharati. Under the chairmanship of Sam Pitroda, we are hopeful that things will change for our public broadcaster.
Of late, objectification of women in songs and films has been criticised. What is your opinionIJ
When society will respect women as human beings, we will see its reflection in films. Of course films too can be more responsible and not further the denegration and objectification of women. The women characters need to be more fleshed out.
Tell us about your personality. And how’s your babyIJ
I guess people only know me through my film work, but I have a funny bone! Many directors have told me I should do a comedy. But I am sure they would hesitate to take me in one, as the labelling is too strong. I am a restless person with different interests, and I hope to continue to explore different means of communications. I never plan things and go by instinct.
I believe life is about choices and every path brings you to a certain crossroad. And if the choices were for honest reasons, even mistakes become learning experiences. I feel privileged to have led a life where I have made my own choices, believed in journeys rather than destinations, had exit options at all times and not feared failure. Acting was never a career.
I have never been in the ‘race’. Maybe this lack of ambition frees me from pressure. At various points I enjoyed different things. These days I’m constantly juggling. Especially after being a mother. I’m loving motherhood. It changed my life dramatically. I think my child is now my greatest teacher. I understand human instincts and human behaviour from him. And he is so much fun! A child definitely makes you better, calmer and a more compassionate.