August 21, 2021 5:20:31 pm
National Award-winner Atanu Ghosh’s latest film ‘Binisutoy’ has hit screens. A filmmaker known for making sensitive films, Atanu’s ‘Binisutoy’ too delves into a relationship between two strangers.
Excerpts from a conversation:
Q. What is ‘Binisutoy’ all about?
I have worked with the void that is created within. In today’s world, you have a car, a house, a beautiful family — everything seems perfect. But within you, a void is slowly being created – it eats you from inside out. You feel you have everything, but you also feel that there’s something amiss. Definitely, this happens when you are sensitive. The void doesn’t rear its head when you are with somebody or the other all the time, as your life is too busy. But slowly and steadily, you get the urge to do something that will change your life forever. A fire is instilled within your heart that you feel will change you and your circumstances forever. My film deals with this restlessness, this void.
Q. You have Ritwik Chakraborty and Jaya Ehsan, the two best actors in Bangla cinema, in your film.
Yes. Kajal Sarkar (Chakraborty) and Srabani Baruah (Ehsan) are reality show aspirants. They meet at the audition of the show. In the process, Srabani forgets her handkerchief on the set of the show. She is on her way home, when she trips and falls. Kajal comes and hands over her handkerchief. He sees she has cut her leg badly. He offers to help, and thereby a new narrative is woven between two strangers. It’s a story about two people who are on the path of discovering themselves. My last two films — ‘Robibar’ and ‘Mayurakkhi’ revolved around just two people and their stories. This film is the third in the series. In this film, I have played with the language of the film. I have broken the linear narrative form.
Q. All your films have dealt with relationships.
There is no story without relationships. Across the world, all films revolve around relationships. I want to delve deep within the recesses of one’s mind and examine the process. I don’t want to do a shabby or superficial job out of it. In my ‘Anshumaner Chhobi’, there is the examination of a director’s mind, what goes behind his so-called screams of ‘action’ and ‘cut’. In ‘Tokhon Teish’ too, a man whose life revolves around his three women that includes his mother – who will he ultimately choose? But my ‘Mayurakkhi’ (which won the National Award for Best Feature Film in Bengali), is not that. It is not a relationship story, as most have labelled it. In it, a man attempts to take his son 25 years back in the past and relive the journey.
Q: Would you call your cinema mainstream?
Of course, it’s pure mainstream cinema. I don’t make formula cinema, or I have never worked on abstract forms. There is an increasing tendency nowadays to make cinema that will cater to the mass market. All I can say is I don’t make cinema for the masses. It caters to a particular section of the audience. But nevertheless, it’s mainstream.
Q. You have won numerous awards. What does an award mean to you?
There are two sides to it. An award gives a film a tag. This tag appeals to some people and pulls them to watch the film. In today’s time, when the film movement is gone, when everything is being dictated by the mass market, an award helps a film to reach out to more audiences. After all, that is what we strive for — to reach out to maximum people. Secondly, an award creates awareness. It helps a good film garner acclaim and draws audiences to watch them. Some of the awards are very dear to me – like the Aravindan award, the Filmfare award and the Film’s Critic award.
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