By

Channa Bandara Wijekoon

IFFColombo 2014 international film festival concluded with a very positive note leaving Sri Lankan cinema with fresh hopes. IFFColombo offered a golden opportunity for local filmgoers to witness an array of films which induced wisdom in them and made them able to look at life in a different perspective.

The film ‘Ajeyo’ shown at the festival caught attention of many. Director of Ajeyo is the internationally renowned and award winning Indian filmmaker Jahnu Barua. This humble gentleman engaged in an exclusive interview with the Daily News just before his departure.

Below, excerpts of Jahnu Barua’s interview.

Q: Your general perception towards international film festivals and how they can contribute towards a country’s film industry in particular?

A: Local filmmakers and audience get an exposure to the international cinema. That gives the former a chance to benchmark with international standards and the latter to appreciate good cinema. Good taste and appreciation reflects on society.

When a dirty city gets clean, you can see it. But a polluted mind getting purified is unseen though it contributes towards a better society. Cinema does that and it is a long-term process.

Sri Lanka needs much stimulus at this juncture to get exposed and create an image in the international sphere. Any Artistic work in this magnitude will develop attitudes and mindsets of people, as true artistes do not have vested interests.

Q: Preachers too purify people’s minds?

A: True, but cinema is a visual medium and its communication is entertaining thus comparatively easier for any layman to grasp. You see the life of the richest man on earth and the poorest. In a fraction of a second you are exposed to a totally alien scenario to you and you get accustomed to it. Afterwards you try to associate and have a dialogue with those characters and immense understanding comes to you in the process.

Q: The response to IFFColombo 2014 by the filmgoers was unbelievable even according to the organizers. How did this happen in a country where a film-culture has not been nurtured?

A: Even I was surprised. You see, the need has been there which has not been catered to. There had been a vacuum. You have to appreciate this enthusiasm by the part of the viewers and the Sri Lankan cinema has to move forward with this new found enthusiasm. In the post festival days, a dialogue has to be ignited.

A festival in a year is not just enough. Through film societies, cine-clubs, mini film fests and film literature this trend has to be taken forward and inculcate in peoples’ minds the urge to see good films, because the ‘passion’ has to come from the public. Strong lobby-groups have to be formed to convince the authorities.

Q: Where do you place Sri Lanka as a host country for an international film fest?

A: Colombo can be a hub for such festival. You had a fantastic beginning for Sri Lankan cinema with a stalwart like Dr Laster James Peiris who made films at a time to gain international recognition. Dr Peiris is respected worldwide thus centering him, so many things can be achieved. Persons like Ashley Ratnavibhushna via NETPAK and a young filmmaker like Prasanna Vithanage too have made immense international connections.

Q: Ajeyo is your fifteenth film. The story of Ajeyo revolves around a socialistic philosophy and is also very close to Buddhist philosophy. What made you to make this film which is based on a book?

A: I get more concerned about common people’s lives. Although I come from the rural village in the state of Asam in the Eastern India, my ancestors have come from Thailand. You can see I have a Mongoloid face. (laughs)

Humanity is the most important thing for people and the book talks on this subject. I was very much moved by the book. Still in Asian countries, India in particular petty differences due to cast, creed prevail. This is a transition period though. In the film I made humanity win.

Since of The lord Buddha’s Parinirwana, 2600 years have passed and new vicious cycle has now begun. Now most adversities are happening in Bihar and Uththar Pradesh where Siddhartha attained Enlightenment.

Now new thinking has to develop. Thus some people have to come forward to remind people of what Buddha has taught at least in a tiny manner. Otherwise it is path to hell.

Q: In the whole setup of IFFColombo, Indian and Sri Lankan films touched our hearts most. Your comment?

A: I agree very much. The Eastern cultures respect tradition and we understand life differently. For Example, we accept death as part of life, whereas westerners are very much scared about death. We can communicate the subject of humanity much better. We tend to think the West is much more developed but it is not so. They might be materially developed. We can talk of human relationships in a more profound manner.

Q: How can we communicate our message to the macro level? Aren’t we getting step-motherly treatment from the west?

A. Gandhi was collaboration and it hit the macro level world via Gandhi. The power of non-violence was perfectly communicated to the whole world via Gandhi. Thus we have to adapt tactful strategies like collaborations to address the macro level.

The Buddha is still not known by big western countries and we are to blame for that. We haven’t found ways and means to do our job to communicate the message as cinema personnel.

We need to see what we have strong to offer. We have so much to offer and we must find our USP. Buddhist history, teachings and philosophy is very important for local filmmakers. They need not to fall in line with western moulds.

Q: What is your perception towards digital cinema? Carlos Reygadas the Mexican director said at the MC Classic, he used celluloid for his film “Light after darkness” because he couldn’t get the cinematic quality with digital?

A: What is important for a particular cinema is the final outlook. I too love celluloid but I shot Ajeyo in digital. Many people enquired whether I shot it in celluloid. I studied the digital technology and learned how to achieve what I want. So it is up to the filmmaker and depends on how he uses the technology. Thus you cannot blame the technology, which will keep on changing.

You must be sure of what kind of result you want. Celluloid will be gone soon. The softness, emotionality which celluloid gives can even be achieved with digital if you know your onions. We must not be too emotional towards a particular technology but adapt to changes.

Q: Should Sri Lanka do away completely with 35mm and embrace digital cinema? What are the pros and cons?

A: Today is a transition period. Thinking of today’s context I can suggest, you have both. But in a mere two years from now, a situation will arise where you cannot continue with celluloid any further. Thus given the circumstances I must say, Sri Lanka should embrace digital technology right now.

I too have struggled with digital technology and have updated myself in the process.

Q: How do you like the film ‘28’ made by Prasanna Jayakody?

A: It was a very different kind of film with a very strong lineup. I appreciate Jayakody’s style very much. Each and every filmmaker has his own style which is very important for a filmmaker. A filmmaker should not worry about what kind of style people may like and it is always a learning process for a filmmaker. I always try to see a particular film from the eyes of that filmmaker.

The talent Sri Lankan filmmakers and actors posses are enormous and we could harp on collaborations.

In fact I get very excited about the word ‘collaborations’ and even in this morning I was talking with my wife about it.

Courtesy: Daily News