Entertainment - Q&A - Nandita Das

First, she made waves as an actress, choosing themes that charted new territories. Think Fire, Earth or even Bawandar. Now, she is making waves with her debut film Firaaq, which explores what happened to communities after the Hindu-Muslim riots in Gujarat post-Godhra in 2002. It has already impressed international audiences at the London, Toronto, Pusan and New York film festival. The British Film Institute (BFI) has hailed the film as “the elegiac document of human traumas”. Firaaq means both ‘separation’ and ‘quest’. So, what made her turn to direction? Nandita Das, who was present for the screening of Firaaq at the recently concluded Kolkata Film Festival, spoke with Pradip Biswas about her directorial debut, her quest for stories and why she calls Firaaq a work of fiction based on a thousand true stories. Excerpts:


What made you switch to direction from acting?

The journey from acting to direction is not a long one. Spurred by communal upheavals in Gujarat as a social activist, I have tried to address the issues of social and human rights. Since each of us belongs to many, I commit myself to the idea of cinema as a powerful tool for social change. Others may not agree with me but I like it that way.


What have you tried to portray in Firaaq?

The film is as much about fact as about human stories and relationships. Bloody communal riots in Gujarat have led to myriad contradictory views. My film focuses on the post Gujarat bloodbath and fear, still raging but proclaimed normal by the state administration. This is funny, as common people, the Muslim minority in particular, are forced to live a dreaded present. In a free democratic society, no community, either Hindus or Muslims, could live without fear of being wiped out at the slightest provocation. My film is an indictment of the fundamentalist groups operating under various labels.


What are the various social activities you are associated with?

I am actively associated with social activities relating to gender discrimination, religious bigotry, subaltern issues, women trade and communal divide. This is one area I have found most dangerous and harmful. It is largely known how the difference between genders keeps widening marking patriarchal forces as rulers and women as ruled. We are no more in the age of Manu. Yet, things described in Manu still rule the roost.


In the film, some of the stories get more prominence than others.

To do justice I have explored some of the stronger anecdotes/stories to make them more relevant and poignant. In the end I have introduced commonplace stories/incidents where you can actually identify with the characters, the social milieu and the contaminated climate.


Tell us a bit about the 80-year-old Muslim character you so poignantly placed in the film.

The placement of the character is a reference to the optimism, faith, fearless idealism and humanism I have incidentally discovered among many 80-year-old Muslim friends I know for years. I am overwhelmed by their tolerance and basic humanism absolutely necessary for preserving the secular, democratic fabric of India. At a time when stark cynicism grips us, they show extraordinary resilience. This is why I used the line — a work of fiction based on a thousand true stories.


The Gujarat riots have been highlighted in films like Final Solution and Parzania. Is your film a sequel?

Both films capture scars of violence and fear of violence. In my case, I want to look at the same subject from a reverse angle. Here all shots can seldom be related to actualities of violence. I find it more interesting to work out communal theme from real as well imagined perspectives. A film should not necessarily detail in frames the actual, spot violence. No doubt, films based on actual happenings have cutting edge but I believe if I could place the same from another vision, it would strengthen artistic credibility. Great films, irrespective of themes, are made in this way. I want to pursue the mood accordingly.


How do you rate your film? What’s your reaction to receptions of your film at various International film festivals such as London, Toronto, Pusan and New York?

Firaaq has evoked genuine responses from all four film festivals. A lot of positive reviews are evident. There is no doubt that my film is accessible to all who care for subjective sensibility and objective standpoint. What I believe is that a film should appeal to senses first. It should stir human emotion. Otherwise, it would become fudgy and ineffective.