The past year has seen quite the see-saw at the box office. Big budget films like Tubelight (Salman Khan), Rangoon (Saif Ali Khan and Kangana Ranaut) and Jagga Jasoos (Ranbir Kapoor) struggled to make an impression, while smaller, content-driven ones helmed by debutants and lesser-known names had a steady run. This isn’t a new phenomenon, of course, but what’s of interest is that 2017 has also been the year when digital platforms emboldened filmmakers to experiment with subjects outside of the standard Bollywood mix — highlighting issues of sexism, bigotry, casteism, inequality and domestic abuse. Kamal Gianchandani, CEO of PVR Pictures, believes these platforms will empower filmmakers to polish their content. “They will have to start thinking of more immersive films, with Indian subjects and stories grounded in our ethos and society,” he says. Moreover, with new avenues to showcase talents and profit from them, emerging filmmakers will no longer be handicapped, he says. Case in point: films like Bareilly Ki Barfi , Shubh Mangal Savdhan and Newton , which had successful outings, showcasing the real, the relatable, and unexplored talents. Six directors speak to the Weekend about their eventful year at the cinemas, what they liked, and how they would like to see Bollywood go in a new direction — where stories, not stars, dictate Friday openers.
Suresh Triveni, Tumhari Sulu
When actress Vidya Balan took on the titular role of a housewife in Triveni’s debut feature, he didn’t expect her star-status would ensure a hit. The ad filmmaker-turned-director — who admits Mani Ratnam has had a huge influence on his career — just wanted to tell a small story about the common man, which Balan magnified with her performance.
Your discovery at the movies: All kinds of cinema can co-exist — an exemplary and engaging film like Newton can be successful alongside a mainstream Golmaal Again!!! Small films like Shubh Mangal Savdhan and Bareily Ki Barfi are also able to make a space for themselves.
A recent film that made you evaluate your craft:Newton . I got a complex after I saw it. I think the bravado with which the narrative unfolds, and the writing and conviction, were outstanding.
Who inspires you: In the films of Hrishikesh Mukherjee and Sai Paranjpe, you’ll find a celebration of ordinary lives; that’s something I’m inspired by. People are not excessively dolled up and the conversations are casual. In Tumhari Sulu , some of that is reflected. I have also paid a subtle tribute to Mani Ratnam, by using the sound of trains in the background throughout. His films have some great train sequences.
Films as an agent for social change: I say borrow the good from it. Last year, when Pink came out, there was a kind of shake, when the ‘No means no’ stance entered our vocabulary. The language was so simple even the layman could understand the impact. I believe there is a subliminal effect, which you don’t realise but plays in your head and, at a latent level, maybe strikes a chord and sometimes reaffirms a belief. Like the catchphrase in Tumhari Sulu , ‘ Main kar sakti hai ’, resonated beautifully with a lot of women who have been writing to tell me how it has empowered them to think they can do anything they want to.
Social issues you want to highlight: I didn’t come here to give a TED talk. My politics comes through in the characters’ reactions. In Tumhari Sulu , there is a simple scene when her husband massages her feet in the bedroom, which subverts the traditional mindset of the wife doing seva . And here, when the man does it, she isn’t shocked; she’s comfortable with it. There is an equality balance in that scene. The issues that bother my characters have to come out organically through their journeys.
Alankrita Shrivastava, Lipstick Under My Burkha
Just two movies old, Shrivastava — who started her career in 2003 as an assistant to Prakash Jha on projects like Gangajal, Apaharan and Rajneeti — hit her stride earlier this year with the small-budget comedy-drama, Lipstick Under My Burkha . Though the Censor Board of Film Certification (CBFC) initially refused to certify it, because of its “lady-oriented” content, it took over social media and won public support. The battle for its release also boosted its performance when the film opened in July.
Your discovery at the movies this year: This year was about discovering web series and television shows. I watched Fleabag , The Handmaid’s Tale , and Big Little Lies .
Films as an agent for social change: I think films that are honest and follow the politics of the filmmaker, will inherently start a conversation. From honesty, if politics emerges, that’s great, but not by trying to set an agenda.
Social issues you want to highlight: I am very concerned with the female point of view. I want to tell stories with the ‘interiority’ of the female gaze, which I think is not there in our films. Even in women-oriented films (currently) made by men, it is from their patriarchal point of view, instead of following the female character’s trajectory and voicing her thoughts and emotions.
What’s changed in the industry: On the sets of Gangajal , there were only three women — me, the costume assistant and the hair dresser. There are more women now, and the independent film scene is booming. I remember when I was young, I had read about Nagesh Kukunoor’s Hyderabad Blues (1998) and it gave me the courage to dream that I could one day make films without knocking on the doors of big studios.
A recent film that made you evaluate your craft: Pedro Almodovar’s Julieta (2016) was great. I also enjoyed American Honey (2016) a lot, and was fascinated by its camerawork and narrative. I loved every aspect of it.
Shlok Sharma, Haraamkhor
This debut feature premiered at the 15th New York Indian Film Festival in 2015, but didn’t make it to Indian screens until two years later. The CBFC refused to certify the story of a schoolteacher’s affair with his student, and the Film Certification Appellate Tribunal had to step in. The small-budget film’s moderate success was a breakthrough for Sharma, whose current project, Zoo , is another indie.
Your discovery at the movies: A lot of new filmmakers got a break this year. Like my own film Haraamkhor, and Amit Kumar’s Monsoon Shootout, which has been delayed for four years I think. Even Atanu Mukherjee’s Rukh took some time. So a lot of independent filmmakers have got a foot in the door.
Who inspires you: Vasan Bala made a film called Peddlers around the same time I made Haraamkhor. Since we’d both worked with Anurag Kashyap during that period, we saw each other’s work and his style has influenced me a lot.
Changes in the industry: Today, writers and directors cannot say making a film is impossible. For my next film, Zoo, I pooled in my own money and shot it because making a film is no longer incumbent on a producer’s purse. Yes, we are still tied to the chain in some ways, like the distributor, but even that has become democratised by the digital wave, if you can adjust for a smaller screen.
Films as an agent for social change: I am not sure that happens. I don’t really want to highlight social issues, but even if I did, I’d leave it open-ended for interpretation.
Rakhee Sandilya, Ribbon
With her belief that movies mirror society, this debut director (who made documentaries earlier) dipped her toes into Bollywood with Ribbon — a film on the challenges of unplanned parenthood, starring Kalki Koechlin and Sumeet Vyas. The independently-produced romantic drama did not have deep pockets to promote it, but positive reviews and word-of-mouth praise helped it find a sizeable audience and the film festival route.
Your discovery at the movies: I feel there is a gradual shift in the way we see cinema today, especially with digital platforms such as Amazon and Netflix, which are taking movies beyond the theatre.
Who inspires you: I love the Dardenne Brothers. I see their simplicity inspiring my style. In Ribbon , I have tried to tell the story in the humane style I feel they excel in.
Social issues you want to highlight: I am not the one to provide a solution, but the one to start a conversation. That’s what I tried to achieve in Ribbon , where I’ve addressed the issue of child sexual abuse, urging viewers to discuss and find ways to prevent it.
Changes in the industry: The film industry tends to typecast technicians too soon, and never really give newcomers a chance to experiment beyond a commercial arc. But things are also looking for bright for those who don’t want to confirm, as support can come unexpectedly. Like after Ribbon , I’m suddenly overwhelmed with the response I’ve received from people within.
Avinash Das, Anaarkali of Aarah
Das’ background in journalism has shaped his filmmaking, focussed on telling stories about gender disparity and class divide. His debut feature, Anaarkali of Aarah , is about a mistreated Bhojpuri singer who decides to fight back. The small film received universal critical acclaim, putting the first-timer — who assisted National award-winning director Kamal Swaroop on his documentary, The Battle for Banaras (2015) — on the map.
Your discovery at the movies: Women-centric films got more space this year; I really liked Tumhari Sulu . Also, small films with rarely-tackled subjects, like Rukh and Newton , also got support.
A recent film that made you evaluate your craft: I saw Turup (2017) made by Ektara Collective. I was astounded by the way the unit worked to address subjects like caste and religion in such a subtle manner. It flowed like water. Another film, Gali Guliyan (2017), which I saw at the MAMI festival, was superb in its use of atmosphere.
Who inspires you: I’ve been closely associated with Anurag Kashyap for a long time and I’ve been inspired by his films. But when I set out to make my own films, it is not so much reflective of who inspired me but what the story is that I’m trying to tell.
Films as an agent for social change: The filmmakers’ personal politics will reflect in their work, but I doubt if that will bring a social change. Cinema will become teekha in the current climate where filmmakers are being harassed. Bagawat ki boo aa sakti hai (the revolt is on its way).
Social issues you want to highlight: Gender sensitivity needs to be addressed, like transgenders who are not correctly presented in our films. That is something I want to talk about.
Saket Chaudhary, Hindi Medium
Chaudhary has made only three films in over a decade, beginning with Pyaar Ke Side Effects in 2006. After the success of the small-budget debut feature, he returned to the screen in 2014 with the star-driven Shaadi Ke Side Effects , starring Farhan Akhtar and Vidya Balan. But the film did not do well. So he took a break and focussed on strong content, delivering the sleeper-hit Hindi Medium this year.
Your discovery at the movies: If people like the trailer, they will watch the movie! Also, it’s either big business or nothing at all — the moderately successful film is dead. Social media is impacting business a lot too.
Who inspires you: Raju Hirani and his style of addressing a social issue within a comedy. I’ve tried to capture it in Hindi Medium .
The best compliment you’ve received: A man called me to say he had sent his daughter to a Gujarati medium school instead of an English one many years ago, and watching my film reaffirmed his belief that he had done the right thing. He wanted her to be proud of her roots, which I’ve also shown in the climax of my film.
Social issues you want to highlight: Inequality. Earlier, we were more sympathetic towards the needy, but with our consumption pattern today, that has changed. Another issue that troubles me is misogyny, which I hope I can address through a film.
Changes in the industry: We’ve become a lot more self-censored because we are fearful of who will get upset. The small-film boom that I’d expected to explode when I made Pyaar Ke Side Effects still hasn’t happened. I think digital platforms will enable that in the future.
