Rajeev Ravi presents Amal Prasi’s Baakki Vannavar: A feature film made on a budget of Rs 12,000

Baakki Vannavar, which garnered significant recognition at the 27th edition of the International Film Festival of Kerala (IFFK 2022) when it was showcased in the Malayalam Cinema Today category, narrates the story of a young man (played by actor-writer Salmanul) who is grappling with the challenge of sustaining himself through his occupation as a gig worker. However, in spite of the recognition the film garnered, ordinary viewers never got the opportunity to watch Baakki Vannavar due to the absence of a theatrical release. Nevertheless, there’s now a concerted effort, led by renowned filmmaker Rajeev Ravi and his Collective Phase One team, to make the film accessible to a wider group of audiences.

As a first step, the movie was recently screened at Ernakulam’s Shenoys Theatre in a filled hall. However, the film’s distribution strategy diverged from the conventional approach. Instead, Rajeev Ravi and the Collective Phase One team opted to rent the theatre screen and showcase the movie to audiences who bought tickets through the film’s banner, Blue Collar Cinemas, on social media. The positive reception and enthusiastic feedback from this screening have prompted Amal Prasi, Rajeev Ravi, and the rest of the team to consider approaching the Kerala State Film Development Corporation (KSFDC) to request wider theatre screenings for the film. Simultaneously, the makers are also planning to extend screenings to all districts in Kerala, mirroring the Ernakulam screening model, and covering the costs from their own pockets.

What adds to the film’s appeal is the amusing fact that it was created with a budget as low as Rs 12,000! “The version presented at IFFK, which was essentially identical to the one we screened here at Shenoys except for the minor improvements in sound and colouring, was produced at a cost of Rs 12,000. Since all crew members were part of the same friend circle, no technician took any remuneration for their contributions, especially due to our inability to afford the payment. They all participated driven by a collective vision to craft a quality film. Prior to release, Rajeevettan provided suggestions for adjustments in sound mixing and colouring, constituting the sole additional cost we faced for this release,” Amal shares with The Indian Express. The film was also screened at Padma Theatre in Ernakulam on August 13.

The tale of the overlooked

Right at the outset, the movie presents a lengthy single-shot scene in which the main character attends a job interview. From the very beginning, Amal Prasi demonstrates his meticulous focus on detail. Just before this lengthy scene, there’s a brief shot depicting the protagonist sitting across from another candidate. While the protagonist holds a visibly worn plastic file folder containing his résumé, the other candidate possesses a seemingly expensive file, underscoring their socioeconomic disparity. The contrast is further emphasised by the protagonist’s wrinkled shirt, possibly due to the lack of an iron box at home or time, while the other candidate appears to be “well-dressed”.

The interview scene is likely to evoke memories for many viewers of the countless occasions when they faced imposing interviewers who nitpicked every detail and set impractical expectations for a minimal salary. It is during this moment that we get to know that the protagonist earns his livelihood by working as a food delivery agent for a food delivery company named Eamoto (similar to Zomato).

Similar lengthy scenes and extended shots can be found at various junctures in the movie, contributing to its gradual emotional buildup. Breaking down the film in conversation with The Indian Express, director Amal Prasi noted: “Our everyday lives are frequently quite mundane, right? They aren’t consistently filled with excitement. Yet, from our perspective, our lives remain engaging. Even extended periods of idleness might not easily bore us. If that’s the case, why not capture the same essence in films? This line of thinking encouraged me to opt for uninterrupted shots. This approach also facilitates actors in fully showcasing their capabilities. I rarely provided them with complete lines of dialogue. Instead, I described the situations and indicated specific points for them to explore, after which they performed according to their instincts.”

Following the interview, another scene unfolds, portraying the protagonist sitting at a local tea shop. There, he overhears two employed youths discussing their “struggles” and suggesting that becoming a gig worker is more lucrative, making them foils to the protagonist, which acts as a commentary on how naive elite youths are.

A protagonist representing countless youths

A notable characteristic of the film is that the lead character does not have a name. Discussing the rationale behind this creative choice, Amal explains, “That was a conscious decision. He is a representative of the troubled youth. Introducing a name would inevitably bring about discussions regarding his religious and caste identities, leading to prejudgments. Our intention was to avert this. He could be anyone. You can call him by whatever name you want. Following the screening at IFFK, many viewers felt a strong emotional connection, seeing their own experiences reflected.”

Despite encountering numerous life challenges imposed by a system, which does not facilitate the survival of the poor, and in the midst of an entitled group’s presence all around, to the extent that audiences anticipate an eventual outburst from the protagonist, he is never afforded such a moment. While this might lead to viewer dissatisfaction, in the larger context of the film’s role as a social commentary and its commitment to realistic depiction, it transforms into a poignant reflection of the pervasive helplessness we experience in real life.

“In real life, these gig jobs represent the last hope for many who come from dire financial backgrounds. Reacting in such circumstances could cost them their jobs, plunging them into severe poverty. Hence, they can’t afford to react that way. The movie’s climax was drawn from our personal experiences, mirroring a time when Salmanul (who co-wrote the film) worked as a food delivery agent, and I accompanied him since I was unemployed then. When faced with the situation portrayed in the climax, we also refrained from reacting. While in a film, we could have chosen an alternate cinematic approach, we decided against it to avoid appearing over-the-top, which might have compromised the overall tone,” Amal says.

Road to Rajeev Ravi

Providing more insight into how they got Rajeev Ravi on board, Amal explains, “Our familiarity with Rajeevettan predates this project. All of us, including him, share a common background as alumni of Maharajas College, Ernakulam. However, Rajeevettan wasn’t initially involved when the film was showcased at IFFK. This screening was made possible by the support of Collective Phase One members such as editor B Ajithkumar and sound recordist Ajayan Adat. Following the IFFK screening, Rajeevettan viewed the film and really liked it.”

“He helped us implement certain technical improvements to the film. The version that premiered at IFFK needed some minor adjustments in terms of sound and colouring. Rajeevettan contributed his expertise to facilitate these enhancements,” he adds.

Amal also stressed that the IFFK showcased numerous other small independent films that, due to their limited resources, couldn’t secure theatrical releases. “These indie films possess great qualities. We should avoid dismissing them by categorising them as ‘award films’. Our film’s screening here was made possible thanks to Rajeevettan’s support. However, many filmmakers lack such backing. Their films also deserve platforms and opportunities to reach audiences beyond the festival circuit. It would be highly beneficial if the government initiates measures to enable this.”