By Nabamita Mitra
Filmmaking is in a nascent stage in Meghalaya and local filmmakers are swimming against the tide to prove their mettle. But more efforts are needed from all quarters, including viewers, to make it a success story on silver screen. This second part of the series focuses on the pitfalls in the industry and looks for light at the end of the tunnel.
V for variety
Most of the films in local languages are the usual romcoms with nothing new to offer. The dearth of good scripts and variety in subject are also important reasons for the tepid viewers’ response. “It is the responsibility of a filmmaker to develop audience. It is wrong to say that there is no audience. You have to give them something different. As filmmakers we should set a bar for the next generation,” says director Dominic Sangma.
Though films on social and political issues are made the message is feeble and hardly arouses emotions. Children’s feature films are almost non-existent.
Rinaldi Kharbani, a young filmmaker from Nongstoin who has made short films and documentaries using his mobile phone, can be credited for experimenting with various subjects and even presenting serious issues like militancy through comedy.
Documentaries are, however, a favourite option for filmmakers here.
In Jaintia Hills, short films on public interest and social awareness are made as special reports for local cable news programme. A few short films have also been made on social issues, sometimes in collaboration with media houses outside the state or country, says Michael Buam of Jaintia Hills.
Brief encounter
Creativity flourishes when there is a constant exchange of ideas, which is also lacking in the North East. Director Pradip Kurbah says he was the only representative from the State at the 2014-15 film festival in Arunachal Pradesh.
“The North East Film and TV Producers and Directors Association (NEFTPDA) is presently dormant in Meghalaya. In 2010, the Meghalaya chapter of NEFTPDA had organised the first Festival of Regional Films in Shillong. Awards for best film and director were also given in that festival and there were a few interactive sessions held. After that, we have not seen an engagement between producers and directors of the region held in Meghalaya. There are some who are in contact with each other but that is mostly on a personal level and not at a community level,” says Buam.
When asked whether MeFILMA takes any initiative in arranging interactive sessions among filmmakers as well as with viewers, its president Commander Shangpliang answered in negative.
The problem of a non-interactive fraternity in the region stems from lack of screening facilities, points out documentary filmmaker Tarun Bhartiya who says the Government should come forward to encourage such initiatives.
Sanjoy Hazarika, director of the Commonwealth Human Rights Initiative and expert in the North East socio-politics, also points out the pitfall in the cycle. He says with limited places of screening, the films from the region gets little exposure.
“Regional cinema is growing and diminishing at the same time. It is growing because some good stories are being worked on and there are good actors and directors too. It is diminishing because one needs to have a big budget film and big names for promotion. Otherwise, the limited screenings of regional films, like on local cable channels, less revenues are some of the drawbacks,” says Hazarika, who admits that though he watches films by northeastern directors he is yet to watch a good Khasi or Garo movie.
When it comes to Government support, directors like Sangma as well as Nicholas Kharkongor, a Mumbai-based director, raise a vital question — “Is the State Government promoting tourism or art and culture through films?”
“I personally do not mind the State doling out money to a Bollywood film. But tourism is a different thing and culture is another thing. If promoting indigenous culture is the aim, then there should be some support system for local talents,” says Kharkongor.
Is the camera rolling?
Kharbani regrets that besides the usual problems, a major setback that is “really discouraging is that people here still do not take the art form seriously”.
“In absence of appreciation and encouragement, your creativity tends to wither. There is no encouragement from the Government too. Films are not shortlisted and sent to festivals. We have to spend from our pocket to enter festivals,” says Kharbani.
The 26-year-old director uploads his films on Youtube and the response is often overwhelming.
But does the present scenario discourage him to continue making films? “Not at all,” is the director’s instant answer.
“There is nothing that can stop me from making films. I love doing this and will continue to do despite all hurdles,” says Kharbani confidently.
It is this love for cinema that encourages young directors from the State to plunge into uncertainty and continue their work. Instead of cavilling at what they have got and what they haven’t, local talents take up the gauntlet. Their spirit mocks the system that keeps ignoring their demands.
“I have learnt to not address them as problems anymore; rather I look at them as challenges that are part of the filmmaking process,” says Shillong-based director Wanphrang Diengdoh.
Sangma, who is from Ri Bhoi’s Nongthymmai Garo village and did his film studies from Satyajit Ray Film and Television Institute in Kolkata, says filmmakers everywhere face similar problems and one cannot continue to focus on this. “The biggest impediment would be an individual’s lack of urge to tell a story,” he asserts.
Kharkongor says he would not mind making films in Shillong despite the drawbacks because for him what is more important is telling the stories of the people in the region.
Even Hemanta Das, a national award winning filmmaker from Assam, sees great potential in Khasi film industry and appreciates the works of young directors from the State. “The scenario is changing. Now films from Meghalaya, especially Khasi films, are shown in festivals. There are efforts to improve,” the veteran director says.
A good film with a strong subject that surpasses geographical boundaries touches all hearts. So there is a need for local commercial filmmakers to identify the market and explore variety in subjects. “Quality work will always speak for itself in the long run and sometimes it does not even require the patronage of the powers that be. If your work is good there will always be support. Governments come and go but the shelf life of a good film is forever,” says Diengdoh.
(With inputs from Olivia Lyngdoh Mawlong)