Filmmaker Dr Rwita Dutta describes herself as ‘a creative, cinema lover, and globetrotter. She has already traveled almost half the world through her films, including the Berlin and the Cannes Film festivals, and wishes to travel the remaining half for her cinema. She is a professor and a member of the International Federation of Film Critics. Dr Dutta was one of the jurors at the 8th Nepal International Film festival (NIFF). The DMN News’ Monica Lohani had a brief conversation with the independent filmmaker during a short meet up at the 8th Nepal International Film Festival. Excerpts:
What narrative, based on our shared history and experience, do you believe could foster deeper cultural relations between Nepal and India?
I don’t find any difference at all. We love each other’s cinema. We follow each other’s fashion and everything. I don’t find any difference between the countries that way. Wherever I have travelled, the basic value system is all the same. Nonetheless, there are always good people and bad people, good cinema and bad cinema. Many people from Nepal stay in the northern part of West Bengal. We are familiar with each other’s culture, and traditions. There is not much difference.
You said ‘good cinema and bad cinema’. What are the parameters to know whether a film is good or bad?
You do not have to be technically sound to understand whether the film is good or bad. It should touch your heart. A good film is universal and has a universal theme. For example, a mother-daughter relationship or love. Love is a universal theme. This universal concept touches everybody’s heart. Take the film Shambhala. We are not familiar with that culture but we understood what was happening in the film. If it is in universal appeal, every audience understands and we do not need to try hard to make people understand.
What can Nepali films learn from Indian cinema in terms of script and other technical aspects?
Indian film is becoming very modern and a part of world cinema. So many films have received awards in various film festivals. Last year, Indian filmmaker Payal Kapadia won the Le Grand Prix Award at the Cannes Film Festival. If you watch alternative cinema, parallel cinema, or art cinema, you can learn a lot about technicalities and storytelling. I think Nepali commercial cinema should be less melodramatic. Otherwise, there is no problem with Nepali cinema.
You were also the jury for International Feature and National Competition at the 8th Nepal International Film Festival. What was your experience?
Some movies were different, whereas some were similar in terms of storytelling. Some films were technically advanced. They have used the latest equipment, cinematography, and editing, which one can tell just by looking at the way the cinema is made. Everything is going big. Most of them were true to their culture. This was very interesting. But sometimes, too many good films are made, and it is difficult to judge. However, judging the movies at NIFF has been amicable and unanimous. Independent filmmaking is tough, but it is becoming popular in India.
Are any initiatives being taken to increase collaboration between Nepali and Indian filmmakers? Why are only big-budget Hindi movies released in Nepal? When will an independent movie get its space on the silver screen in Nepal?
There should be. Nepal has many beautiful places. India can always use it. There are so many movies that are being shot in Nepal. Nepali movie makers should also visit India to shoot their movies. There should be more co-production. It will help get a wider range of audience. Independent films should also be released in cinema halls because this concept is already popular in India. Parallel films are being released besides Salman Khan and Shahrukh Khan movies. In India, people are watching independent films rather than Salman Khan’s films. I am a great fan of Shahrukh Khan but his films are becoming monotonous. I am always promoting regional films. Shahrukh Khan doesn’t need me, but the young filmmakers and independent filmmakers need our cooperation and promotion. In NIFF, I watched a lot of Nepali films but I have not seen Nepali movies being released in India. You should ask your government why they don’t release Nepali movies in India. India would love to watch a good Nepali movie.
The portrayal of a Nepali character in Hindi cinema is often stereotyped. How can we change that perspective?
It happens in the Hindi commercial cinema. It has never happened in an independent film. Because Hindi commercial cinema doesn’t have proper exposure. They don’t know the culture here. They should come to Nepal to learn more before writing a Nepali character in their film. Otherwise, it will be very stereotypical. Also, such character portrayal used to happen in the earlier cinemas, that of the 70s and 80s. Nowadays, young filmmakers are a lot more educated and have a lot of exposure. If we watch contemporary films, the portrayal of any Nepali character has changed to a much bigger extent. It is slowly changing.
What role can film play in enhancing the diplomatic ties between Nepal and India?
Film is a soft power these days. Soft power can be cultural. It is much easier to promote diplomatic ties culturally. Through films we can come together with each other and exchange our cultural views. This is the most important medium through which we can come closer to each other. We should make use of that more and more. Events like NIFF are bringing the world together. We have people from all around the world. China, Finland, and Norway enjoy each other’s culture and movies and encourage collaboration. The world is at your door now. I want Nepali films to grow and become global like Shambhala did.
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