London Film Festival’s South Asian Film programmer Cary Rajinder Sawhney spoke exclusively to Desi-Box about his thoughts and highlights of the array of South Asian films that were showcased at this year’s 56th London Film festival.
DB: Bollywood had a heavy prominence at this year’s London Film Festival, was this a conscious decision from yourself and the festival team?
Cary: This year I have been challenged to bring a more commercial mix into the programme combing the traditional art house independent films which I have been doing for the last 15 years and to the 16th year bringing a Bollywood aspect. Something that I personally wanted to do and very pleased that the new director Clare Stewart also wanted to the same.
DB: One of the Highlights of the festival was red carpet world premiere of Prakash Jha’s Chakravyuh as part of the Thrill Gala. Why was Chakravyuh chosen to feature at the festival?
Cary: The idea was to find a Hindi film that was finished and it just happened that Prakash had just finished his film Chakravyuh. Prakash Jha who I know, has shown at London film Festival with Mrityudand, when I first started in 1997. I know the quality of his cinema, and that he was reliable and he would take the formula of Hindi cinema and make it individual, and create something intelligent with it. When I saw it I was quite amazed! The plot was wonderfully complex, it was multilayered with lots of twists and turns. I think overall the audience reaction at the festival has been very positive.
DB: What other Bollywood films did you think had London Film Festival potential?
Cary: I was actually chasing Karan Johar’s Student of the Year film however he had not finished it on time.
DB: Can you share with us your thoughts on the other South-Asian films that you had chosen for the London Film Festival?
Cary: We had a mix of the traditional films that we have always had at the London Film festival. Recently there has been interesting experimental films from South India. Kolkata and Bengali cinema are producing key directors and Marathi cinema been very strong. We have also seen great Pakistani cinema remerging again as well as some sublime art house films from Bangladesh. At this years festival With You, Without You (Oba Nathuwa Oba Ekka) has been quite an audience favourite. I have known the director Prasanna Vithanage for many years and I was delighted he has probably produced his finest work yet.
DB: Why do you think that the films from Anurag Kashyap’s production house seem to be a London Film Festival favourite? Especially this year with both Aiyyaa and Peddlers having been shown.
Cary: Anurag Kashyap Productions are producing so much great cinema. In terms of history of Indian cinema I don’t think anybody is turning that level out. I believe Anurag Kashyap is producing films that no body else is producing. From the London Film Festival view I’m sure we will be looking at more films from the production house given the prolificness of the film company.
DB: Aiyyaa which stars Rani Mukerji have left the critics divided and the film has not done so well at the Box Office why do you think so?
Cary: I saw Aiyyaa and I was sliding of my chair trying not to laugh! It fits very nicely with the English sensibilities. The film has a sense of irony and kitsch which is deliberate. Its not meant to be a full Hindi Bollywood film. It’s a spoof. I don’t think that sort of cinema has really been developed in the Indian market. Om Shanti Om was probably the closest thing but that was almost a homage and was very gentle but Aiyyaa is very much in your face. I think the audience have missed the point. It was riotously fun from a British point of view.
DB: The London Film Festival also showcased crossover films such as Deepa Metha’s Midnight Children and Mira Nair’s The Reluctant Fundamentalist. Why is it important to showcase such cinema at the London Film Festival?
Cary: There will always be a place for the Deepa Mehta’s and Mira Nair’s bigger commercial crossover films. The Reluctant Fundamentalist is a piece of world cinema. Mira has directed the actors in a very accomplished way and I think that is a very strong part of the film. Mira also navigated the very difficult terrain of the film; she was neither politically correct nor right wing American. She could easily gone down one way and which may have been easier to appeal in the American market. But she made subtle decisions in her film which make it a worthy adaptation of the novel.
DB: Is there one film from your selection that really stood out for you at the London Film Festival?
Cary: I think the Ship of Theseus amazing film. I had recommended for it to be a contender for the Sutherland Trophy award and I think it was the first Indian film to be nominated for the converted filmmaker award for a very long-time. It’s a piece of cinema which is very different and belongs to the world. is an
DB: Will the London Film Festival continue to have a prominent amount of Indian cinema?
Cary: I believe the London Film Festival is committed strategically to having a Hindi element in the film festival. I think that will grow over the years.