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f a patriarch thithi was set in co writer ere gowda s village of nodekopplu in karnataka s mandya district now 34 reddy has made a second feature strikingly different in terms of cast language setting and tone the fable features mumbai based actors like manoj bajpayee deepak dobriyal and tilottama shome has dialogues in english and hindi is shot on 16mm and unfolds in the shadowy glades of a fruit orchard in uttarakhand set in 1989 it s about an english speaking business family not dissimilar to reddy s own except that the man of the house bajpayee spends a lot of time surveying his surroundings wearing a pair of wings the fable substitutes thithi s gentle philosophical realism with the surreal and mysterious exploring the family s transformation after fires begin to break out on their estate lounge spoke with reddy at the recently concluded 74th berlin international film festival where the fable had its world premiere edited excerpts the settings of both your films are very different a chaotically busy karnataka village and a vast quiet himalayan estate what role does place play in inspiring your work a huge role place always comes early in my outline and feeds into absolutely everything my novel it s raining in maya 2011 is set in a fictitious town inspired by my years in delhi university s north campus i lived in malkaganj for thithi it was the village here it s the mountains because they have an inherent magic in the air in thithi there was a real village but in the fable it s fictional so was the germ of this film the setting actually it was genre the magical elements i have experienced in very moving ways in literature i wanted to translate them into cinema then the setting i spent three months in the mountains the narrative structure comes from what story the place wants me to tell thithi was very humorous this time i was excited by the challenge of holding attention through mystery the fable combines a real world with the surreal how did you decide what those magical elements would be i would love to clap on a pair of wings and fly or be able to communicate without words i always wanted to be part of that heightened reality it gets a little indulgent but i wanted to abide a little in these dreams in a very pure way do your scripts start as novels my novels look more like films scripts i think in cuts but yes this screenplay was quite literary i used language to create moods that had to be executed in the audiovisual domain quite hard to do if you have a lot of specifics talking of specifics why fires when i was in the mountains for the first time i went to fight a forest fire and i like allowing life to guide my storytelling hand you mean it s like magic the fire happening while you were there exactly fire was also exciting at the narrative level it s the perfect crime there s no way to know where a spark fell in a pine forest as well as the perfect capsule to see how an unknown accident affects a social ecosystem fire also signifies many things like regeneration destruction is not always negative it also brings forth the new you have two songs which seem crucial to the mood not just mood but meaning the lyrics move me to tears each time even in the edit room shivoham says you are not your body or your mind you are pure consciousness this is the deepest part of our philosophy and i connect with it deeply as does the family it takes them into a spontaneous meditation the purity of that space from which the song comes is why the family were worthy of this story naiharwa is about reaching the land of the enlightened both have been sung by my sister in law hindola aguvaveedi she would sing these to us after she married my brother how much does the film draw on your own life i have spent time in a coffee estate i have seen those relationships as a child and i wanted to question them so the soul of the film is personal it s my voice as an artist but the body the north indian setting the narrative elements those are my craft as a filmmaker i almost don t want to be over familiar with the place like in thithi it wasn t my village in thithi you worked largely with non actors here you have well known actors unlike in thithi where we wrote roles based on real life characters here i wanted to write and then find actors who could inhabit those key roles who could transform but there are many non actors the villagers the army men the gardener the maid they served different purposes within this tapestry was the combining of actors and non actors ever a challenge these are the challenges i love that dynamic was exciting to me having a veteran like manoj ji do scenes with ravi bisht who is a pahadi villager is talented but never acted before or tilottama shome going into the non actor world and playing a villager but mostly we had an actor schedule and a non actor schedule i tried with this film to bring opposites together so it is realistic but also magical it is 16mm 1980s in look and feel but it s also vfx heavy the fires but also a lot of the nature is vfx why did you want to shoot on film multiple reasons one it was the medium in use in 1989 making it look like it was shot then that authenticity was exciting i also believe in a kind of transference of consciousness in art i think film carries our emotions in a tactile way more potently than the digital medium film itself is a character the grain dances from frame to frame i do still photography on film so that was the entry point creating this visual world was a beautiful collaboration with debut cinematographer sunil borkar and debut production designer juhi agarwal i love working with first timers in key roles it s not like i am so far away from being one because their visions are so uncoloured coming straight from the hearts would you speak a little about the film s politics and class in it first of course there s the colonial hangover and class has always fascinated me it is a cross sectional analysis of a plantation society there is the family at the core then the manager who is loyal to the family but is a local himself so he mediates between worlds then there are the villagers whose livelihoods are based on the estate by choice or at least within the choices available to them there is a loving relationship between dev bajpayee and his workers but there is an obvious disparity there is a shot in the film where the workers are walking home under suspicion and you cut to the family at a dinner party that s just how much of india is and then there are the nomads they surrender to nature they don t speak the nomads seem to represent a different sensibility from your real world concern with class they seem almost fictitious totally almost like elves they had to stand apart they are part of the questioning of our rights can we inhabit nature filled with trees and creatures without being persecuted your shooting schedule was disrupted for two successive summers by the pandemic what do you do as a filmmaker when something stops a creative process like that you stop internally as well i make one film at a time but i am a compulsive creator i m into photography music philosophy poetry songs not for an audience yet do you think of the fable as political allegory it is part of the layers but you can decide what you think is the core as an artist that s exciting to me to leave room for my art to be inhabited trisha gupta is a delhi based writer and critic and professor of practice at the jindal school of journalism and communication posted by trisha gupta at 13 51 no comments email this blogthis share to x share to facebook share to pinterest labels berlinale film filmmakers hill stations interviews manoj bajpayee place raam reddy the fable thithi 13 march 2024 on the indian documentary nocturnes shot in arunachal pradesh which won an award at sundance film festival 2024 my review of anirban datta and anupama srinivasan s documentary nocturnes nocturnes won the world cinema documentary special jury award for craft at the sundance film festival a few hours after my piece was published on moneycontrol com on 27 january 2024 a still from the sundance award winning indian documentary nocturnes we hear them before we see them a faint but persistent rustling in the darkness which turns out to be the fluttering of a million little wings and when we first see the moths they seem tiny insignificant why we wonder would two human beings spend so much time and effort on them a few moments later though we see the two researchers again this time walking along a forest path dwarfed almost entirely by the dark green tree canopy that takes up most of the frame it is humans who seem insignificant just a speck on the surface of the earth of such glorious visual revelations is nocturnes made directed by long time delhi based non fiction filmmakers anirban dutta and anupama srinivasan the 2024 documentary which premiered at the sundance film festival in utah usa earlier this week was shot on location in the misty mountainous forests of arunachal pradesh this is not datta and srinivasan s first work in the northeast their previous collaboration flickering lights which won the top prize for cinematography at the international documentary film festival amsterdam idfa in 2023 was about electrification or the lack of it in a village in manipur anirban datta one of nocturnes two directors nocturnes unlike fl approaches science not through pragmatics or politics but as a source of wonder we follow mansi mungee an indian entomologist in her 30s as she traverses the forests of the eastern himalayas in search of the hawk moth she is accompanied by gendan bicki marphew a young man from the local bugun community who works part time as her photographer assistant sometimes other collaborators appear too but the point of view remains very much mansi s as she and bicki scout out locations we learn about the practicalities she must keep in mind the specific elevation or height above sea level the presence of old growth trees the existence of a forest clearing to enable light from the moth screen to travel some distance but also some natural limits to that clearing so that the moths that show up can be assumed to have come from a single elevation anupama srinivasan one of nocturnes two directors sukanta majumdar s impeccable location sound brings the forest to life overlaid by nainita desai s almost eerie musical compositions complementing our sense of visual discovery but the work of science is not glamorous and yael bitton s editing stays close to the precision and slowness and often repetitive labour of the process recording measuring comparing evaluating we get a real sense of the long hours spent waiting with little control over the outcome of their labours night upon night the researcher and her assistant are awake into the wee hours their headlamps and hoods abuzz with winged visitors hoping that their little island of light will attract at least some of the specific creatures that they are here to study but there are no guarantees of anything and in these moments scientific work begins to echo the practice of faith at one point when mansi sketches out the route along which she intends to map the population of hawk moths and explains to her assistants that they need to take two hundred photographs at each point on it one of them stops her how long will this take he asks mansi s reply is immediate however long four months five months two years whatever it takes we ll do it that commitment to a timeline without end feels like deep romance especially in a world that thinks it needs everything faster and wants nothing forever several recent indian documentaries have gained worldwide attention by training their lenses on the subcontinent s infinitely various natural world and the relationships we have with some particular aspect of it kartiki gonsalves the elephant whisperers 2022 won an academy award for its portrait of the man animal bond through one couple and an elephant in mudumalai rahul jain s invisible demons 2022 mapped the apocalyptic state of delhi s polluted air while shaunak sen s all that breathes 2022 achieved a brilliant mix of the poetic and political with its mordant portrait of two delhi based brothers who run a hospital for injured kites nocturnes is a quieter smaller film than both the latter the filmmakers having chosen a milieu with less scope for ecological handwringing or socio political critique but neither does it resort to crowd pleasing appeals of the orphaned baby elephant variety it just nudges us to slow down and look at gossamer spider webs trembling in the weak morning light a caterpillar looping itself along the strength of a slender branch the mist unfurling over a dark forested valley and most often at its mysterious world of whirring creatures that sometimes live only a few days but whose ancestors have been on the planet since before the dinosaurs like its researcher protagonist it hides a deep existential investment in its subject under an implacable workaday front the film s least successful moments for me are those when its almost meditative focus on time and labour and the eternal show of nature is punctured by overt moments of tell mansi verbalising her enchantment with the species she studies or asking existential questions to which science may not have any answers why are moths so variegated in colour and pattern why do they thrive in these remote forests it would also have been interesting to see a little more of the indigenous bugun and shertukpen communities who are thanked in the credits as the guardians of this forest but that would have been a different film and for now this one is quite enough first published in moneycontrol on 27 jan 2024 posted by trisha gupta at 19 12 no comments email this blogthis share to x share to facebook share to pinterest labels anirban datta anupama srinivasan documentary film festivals films nature writing non fiction northeast 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