Winning a National Film Award is not a mean feat. Then, what to say about someone who has bagged four in quick succession before reaching 40? A legend in the making, for sure.
After graduating in sound recording from the prestigious Film and Television Institute of India (FTII), Lipika Singh Darai so far has four national trophies to her credit, a testament to her proficiency in craft and commitment to professionalism.
Moreover, her films have received appreciation from sought-after international film forums—recently from the International Film Festival Rotterdam (IFFR)’s Hubert Bals Fund and the British Academy of Film and Television Arts’ (BAFTA) Breakthrough initiative. Following her BAFTA recognition, Sunday POST caught up with Lipika to understand her thoughts and journey as a filmmaker so far.
Here are the excerpts:
Congratulations on Hubert Bals and BAFTA Breakthrough! How does it feel? This filmmaking journey, from FTII to IFFR?
Thanks! Basically, for the last ten years I’ve been trying to learn how to make films. At FTII, when I was studying sound recording, the entire approach towards filmmaking, from the perspective of a sound recordist, was different. We never learned about how to write a script or how to be the captain of the ship! Most of the time, I just learned how to be part of a team.
When I decided to make films, I figured that it was a different world. I decided that, as I’m young and I don’t have to prove anything to anyone, I can experiment and make films on subjects that I find interesting. So, in the past years, I’ve tried to understand the craft and figure out my way of making films. How as an artist I can express what I want and through what form of cinema?
I’ve been trying to make films since the time I had only one National Award on my CV. And I don’t’ consider myself a talented person. But I work really hard and I’ve been hustling for quite some time. For four years even I didn’t think I’ll be able to return to films as I had facial paralysis, long Covid and an accident! Now, things seem to be falling into place and I’m glad that I gave myself that time for self-exploration.
So, have you found your form of cinema? Your voice so to say? Any filmmaker in particular who has influenced you?
I used to resist the idea of uniqueness, using similar types of images and patterns that make someone’s film recognisable. But when I was in FTII, I liked the films of Andrei Tarkovsky and Krzysztof Kieslowski. As feature filmmakers they used to communicate complex characters with such ease! Back then silence used to be explored in cinema and filling your film with silence got you international recognition. That used to disturb me. I wanted to speak in my films. I wanted my characters to speak. I loved Agnes Varda because her films were narrative-driven. She was a woman, and she spoke in her films! So that resonated with me.
But I felt more motivated watching Indian films than world cinema. When I saw the films of Satyajit Ray and Mrinal Sen, I was really surprised by their skills at regional filmmaking. Outside of the film institute, I’ve not been much influenced by other filmmakers.
You have made beautiful narrative documentaries like Backstage. What has that form and process taught you?
Narrative documentary has taught me how to understand reality and how to discover something while making a film. It’s a great medium to engage with society as it leverages cinema as a tool for exploration.
It demands that you understand your surroundings in an intimate manner. There are no shortcuts. You’ve to understand the subject from its fundamental elements. In the process, you understand yourself better and you understand your position in the world better. I’ve evolved as a person after meeting people, having difficult conversations, understanding different situations, and making decisions about how to portray them in the film.
Subjects of your films, like Dragonfly and Snake, seem to be drawn from your childhood. How has your childhood shaped you as a filmmaker?
As a child, I was a heavy dreamer. I could see three or four dreams at a time. And I had a very rich and complex inner world. My music teacher, Prafulla Kumar Das, was the first to understand and help me access this inner world.
Also, I didn’t have a conventional upbringing as a girl. My parents never imposed any restrictions. I used to take dance, music, and painting classes, and I participated in all kinds of competitions. All these people, my parents, my teachers—were kind of rebellious, which I also think I am. You cannot make it this far as an independent filmmaker if you’re not rebellious!
So, my childhood is my home. In some ways, I’m still in my childhood. If I’m ever lost as a person, I go back to that place, and then I find myself.
Speaking of independent films, what draws you to independent cinema? Don’t you ever feel the allure of a mainstream hit?
Independent filmmaking can handle independent voices and encourage a sense of freedom for both filmmakers and audiences. I am not attracted to the conventional glamour associated with the film industry. I am more interested in the art of filmmaking, which does not have space for celebritydriven chaos.
Do filmmakers today have that freedom? What is your perception of freedom of expression today?
I think we have witnessed a narrative shift in mainstream filmmaking in the recent past. I would like to believe that contemporary independent filmmakers have a big hand in that. Whether it’s documentary or fiction, filmmakers are working on subjects that were never addressed before with so much openness, and it is forcing everyone else to think and discuss various aspects of society, which was not the scene a decade ago.
You’ve said that you wish to extend your support to emerging female filmmakers. Anything in particular that you’ve planned?
In the coming years, I will try to create opportunities for emerging filmmakers by creating seed grants in collaboration with funding bodies, free filmmaking workshops, and by trying to start more film societies across the state. Even if I do not receive support, I will try to be of help in any way I can, which I have been doing.
There are currently only a few women filmmakers in Odisha, and we need to take conscious steps to bring about change. One of the ways to do so is to have the Odisha Film Development Corporation (OFDC) and mainstream industry fund a few women filmmakers every year as part of a scheme or programme. The first step will be to reach out to women film professionals in the state and strengthen their work and creative journey.
By ATRI PRASAD ROUT, OP
