I was sat in the audience, at the Mumbai Film Festival's (MAMI) panel for writers. One of the speakers was Varun Grover, a contemporary screenwriter, poet, comedian and lyricist with prolific credits like Masaan and Gangs of Wasseypur to his name. He notably performed a tour with satirical songs and jokes about India's socio-political climate, titled 'Aisi Taisi Democracy.'
When the panel opened up to questions, I threw my hands up to ask him if he viewed the emergence of a parallel in Hindi-cinema as India's own New Wave, a movement like Italian Neorealism, the French New Wave, the American New Wave or the Iranian New Wave. He didn't appear to see merit in my question, saying that words like 'New Wave' are just fancy lingo for the media to use to sell papers and attract viewers.
Then a year later, I picked up the 25th edition of the Filmmaker magazine. I opened up the first article, titled 'No New Waves?' I was instantly involved. Learning about film movements has excited me since my teacher at school, Mr Ryan, taught about it during IB Film Studies classes. Film movements to most, invisibly transform an entire generation's perceptions, beliefs and pop culture. They are also attributed to challenging a country or region's politics and society. Often, they mark the emergence of a new perspective, like the female gaze or LGBT stories. For example, The Graduate famously addressed the struggle for the newly educated to claim their own identity. It addressed the corrupt value systems some followed, the plasticity of a rich lifestyle and highlighted the monotony that lifestyle came with in the 60s. I would go as far to argue this monotony unfortunately has not changed, scores of kids head into university only to be dressed up in suits and fancy shoes, then get pushed out of a capitalistic production line. Nevertheless, The Graduate was iconic in the way it addressed these issues using motion picture and a strong, captivating story.
Reading the article reminded me of the Q&A at MAMI, I think my question deserved a fair answer and that it is a discussion that needs to happen. I do not blame the Mr Grover, I truly respect his work. I believe the way that the media works in India is surely what prompted him to shut my question down. I didn't wish to sensationalize this topic, I merely wished to recognize the existence of a parallel cinema in India. I hope to initiate a discussion and garner encouragement for the filmmaker's of tomorrow (that's me), so they have a cinema that they agree with to join. A film Grover collaborated on, Gangs of Wasseypur, was a product of this parallel cinema. It was praised and enjoyed by both audiences and critics, and has left a footprint in Indian Cinema. The film portrayed the issue of gang and gun violence, the realities of family life in a testosterone charged society, the lack of freedom to date, and more subtly the lack of birth control. The film unequivocally touched nerves in every facet of society as it stripped the seemingly 'cultured' Indian society to shreds and shined a light on its hypocrisy. If I could name it, I may call the film a modern version of film noir, not built with chiaroscuro lighting or bars and leading lines, but with carefully crafted characters placed in India's post-colonial identity crisis. If you haven't watched the film yet, and you are of age, you must.
I've realized that humans find comfort in a community, and we find pleasure in disruption and influence. To mix it up, those in my generation, have an appetite for realism. We may have enjoyed the dancing in a field, stalk-to-love, colorful products of Indian cinema, however we want to see change.
To elaborate on this thirst for change, late one night, after completing a shoot, I went to a 24 hour Subway restaurant, manned by an Indian-origin male, we talked about why Indians move away from India. How we are sick and tired of the corrupt, jump-the-line attitude used in every stage of human development. From being admitted into a school, to finding a job and then winning contract bids. These are just some of the realities we understand, relate to and want to be seen highlighted. That is what I meant by the "Indian New Wave, " no non-sense stories told by realist filmmakers.
In encouraging the new wave cinema, in recent years, I've observed Hindi cinema has come together to fight the authoritative powers of the Central Board of Film Certification (aka Censor Board) to help release films like Udta Punjab. The film shook the government, as it revealed the ugly, drug-filled reality of Punjab. In such cases, veteran filmmakers have stood behind their new, fresh, and change-thirsty counterparts of today on various occasions. This demonstrates the collaborative efforts of filmmakers, and unity, that is required in a much scrutinized industry to flourish and grow.
One of MAMI 2016's selections, Lipstick Under My Burkha was selected for the Vancouver International Film Festival 2017 (VIFF). After the screening, I discussed it with a friend in India, who also watched it and spoke about how it was censored. This is because the film was mired in a controversy with the Censor Board, as the committee refused to certify the film. It brought to fore the patriarchy in the decision-making body, who refused to identify a female-oriented film. Like in the case of Udta Punjab, this sparked popularly termed 'A-list stars' to speak in support of the film. Followed by the media doing it's job as a fourth pillar to democracy by pressing the government for answers. Ultimately the film was released with voluntary cuts after a tribunal was summoned to intervene.
This is another idea that producers have grown to be more open to invest in, the female gaze. After over a century of a male-gaze dominated Hindi film industry, I would say it's about time. Sure, some female gaze stories, or confident female leads have been written about and seen, but in my time, I've not viewed something raw enough to make me feel a slight discomfort. Neither has any film triggered a major disruption, faced off with a government and caused journalists and the judiciary to intervene at the scales of Lipstick Under My Burkha and Udta Punjab.
I believe that an environment that encourages content so real to thrive, must be nurtured further. And realistic content, no matter how gory, violent or sexual, shouldn't be barred or have to face off with any organisation. Film is a medium that inadvertently changes fashion, attitudes, how festivals are celebrated, how certain demographics are viewed/treated and what today's art says about today's world. I think we need to come to the realization that India is not some fantasy-land, and that our woes are getting worse. The poor are getting poorer, the climate is changing drastically, our farmers are unhappy and treated maliciously. We are a highly capitalistic society disguised in our layers of religion, culture, past suffering and 'need for development'. These flaws aren't even to be attributed to a government, the hypocrisy exists regardless of which party is ruling.
India hasn't seen enough films about the deep-rooted corruption every other man faces, every other day. The majority of films treat our audiences as illiterate individuals. This may not be far from the truth, many Indians didn't go to school, or left in the middle. For example, I stayed at a hotel in Hyderabad, where a boy came to attend room service calls. When I confronted him about his age he refused to answer, in fear of getting in trouble with his employers.
We may have a few, numbered credible individuals and productions making an effort. We also see growing numbers of films that make you question your choices and beliefs, or highlight real issues. We had Parched, Pink, Lipstick Under My Burkha, and more commercially, Queen. Films that portrayed realities faced by females and the female gaze. So I am optimistic, and quite certain, that the next shift in Indian cinema will be its parallel moving into the mainstream. I believe that we are seeing the emergence of the Indian New Wave, a movement that blatantly highlights India's realities and challenges various aspects of its culture. I hope that this will also create a bridge for the identity crisis we've faced, post the British Raj and partition.
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Indian New Wave? - In Reply to Filmmaker's "No New Waves?"