How Tribeny Rai’s Shape of Momo is championing independent cinema in India
Director Tribeny Rai joins Zoya Akhtar, Reema Kagti and Payal Kapadia to talk about her debut feature Shape of Momo, indie filmmaking, theatrical culture, need to nurture writers and politics in cinema
A still from Shape of Momo After travelling to several international festivals and winning accolades, Tribeny Rai’s Shape of Momo is releasing in Indian theatres on May 29. The Nepali-language film, set in a Sikkim village, is distributed theatrically by Rana Daggubati’s Spirit Media. It is supported by Zoya Akhtar, Reema Kagti, and Payal Kapadia, who have come on board as executive producers.
Shape of Momo follows the story of 32-year-old Bishnu (Gaumaya Gurung) who returns to her ancestral Himalayan village after quitting her city job, only to face multiple family pressures and rigid societal expectations. At home are her grandmother, who hopes her son will return from Dubai; her mother, eager to see Bishnu settled and married; and her pregnant sister Junu, who has come seeking refuge due to tensions at her in-law’s home. Even as Bishnu navigates expectations, she must choose to conform or forge her own path.
In a conversation about the film, Zoya, Reema, Tribeny and Payal, who joined via Zoom from France, talk about women’s stories and creating room for independent voices. Excerpts:
What made Zoya, Reema, and Payal join hands to support the release of Tribeny’s first feature, Shape of Momo?
Zoya Akhtar: I love the story and the intimacy of it. At the same time, it has an impact. The movie transported me to Sikkim, which I have not visited. The film presents a lived-experience that was familiar and foreign. I liked the kind women the film shows and the conflicts they are going through resonated with me. I like how the gender and class narrative intersects in the film. So, when the opportunity came that I could nudge it towards its release, I grabbed that.
Reema Kagti: It is important to have all kinds of films. Independent films, which are breaking out, need that kind of support.
Payal Kapadia: When I travel (to festivals), I get to see more independent movies from India than I do when I am in the country. I love this film so much and want more people to watch it. It is a pity when you can watch this kind of movie only in festivals and some kind of niche screenings. I was excited that the film will be released in theatres and people will buy a ticket to watch it.
Tribeny Rai: I am fortunate to have such voices championing Shape of Momo. This enables many filmmakers of India, especially from my region (Northeast) to tell stories like this.
Tribeny Rai, the director and co-writer of just released Shape of Momo
Ahead of All We Imagine as Light’s India release, Payal had mentioned how excited she was that people would buy the ticket to watch her movie. At a time when streaming platforms’ reach has expanded, how important is it that?
Zoya: Firstly, it is business. You need to support and patronise movies. If you love films, you should watch them in theatres. The experience of watching movies on a big screen is irreplaceable. Certain films are so immersive that I believe I would be able to enjoy them only on a big screen. I am not talking only about tentpole releases, which are great fun, but also about certain quiet and austere pieces of work which are immersive.
Tribany: If people go and watch Shape of Momo in theatres, it would help in making my next film. To tell the stories that I wish to do, it is essential that the film brings some money back.
Tribeny, your protagonist is a 32-year-old woman who does not make conventional choices.
Tribeny: I wanted this kind of representation on screen. While watching movies, I did not find a protagonist like her. Since society expects us to behave in a certain way, we don’t cheer for a female protagonist unless she is righteous like a mother who feeds her son before eating herself. Social realities are quite different for women like us, who want to make their choices, I really wanted to project those experiences.
We have big-budget movies like Dhurandhar making waves while Shape of Momo is now in cinemas. Should the endeavour also be to draw the audience?
Reema: Between Dhurandhar and Shape of Momo, they cover the entire spectrum. To me, that’s how a healthy industry looks like. It is engaging with all kinds of movies. I would like an audience which encourages both niche and tentpole movies.
Recently, a bunch of filmmakers have been throwing their weight behind independent movies such as Stolen, Humans in the Loop and Sabar Bonda?
Reema: We are all selfish and at the end of the day we want to watch these movies on screen. That’s why everyone steps up to make that happen. To have a thriving industry, we can’t have just one kind of movie release. The Indian audience has an appetite for a lot more.
Payal Kapadia (Photo: Devansh Patel/Twitter)
After the statements made at Berlinale that cinema should stay away from politics, the Cannes Film Festival has made its leaning toward politics evident while selecting its winners and making certain statements. What’s your take?
Payal: Cinema can’t be devoid of politics. You see that in Shape of Momo, which can be seen as supremely political. Politics is not always associated with parties. It’s also about how you lead your life and the choices you make.
Zoya: You can take any film, including one that does not have anything overtly political, yet you will get a sense of their politics, their views of women or how they view class conflicts. You can understand a person’s value system from their work.
Reema: No art can exist in a vacuum. It’s all political. If you are consciously omitting any political commentary in your art or writing, that itself is a political choice.
Tribeny: In one of my initial interviews I had said that in this film, ‘personal becomes political’. When you watch the film, you know my stand in life.
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