Sofia Coppola
('Lost in Translation'), Patty Jenkins ('Monster'), Mira Nair ('The
Namesake'), Deepa Mehta ('Water'), Aparna Sen ('Mr and Mrs Iyer')...
If one were asked to name popular women filmmakers, the
aforementioned would be just a handful of names that come to mind.
World over, the film and entertainment industry is dominated by men.
Exciting projects, big budgets and accolades are usually reserved
for men. As a result, women filmmakers face an uphill task to make
their presence felt. However, things are changing. Women are
cracking the glass ceiling as production company heads, directors
and technicians. And, now, even the Himalayan kingdom of Nepal, has
its first woman director in Suchitra Shrestha, 29.
Even though women form
nearly 51 per cent of Nepal's 27 million population, until recently
there were no women directors in Kollywood, Nepal's film industry. In
2002, Shrestha created history by becoming the country's first woman
director with the film, 'Prem Yuddh' (Battle of Love). But, now, even
five years later, she is still the only one.
Shrestha attributes her success and her choice of profession to her
parents, who brought up their three daughters and two sons without
discrimination. "We were given the freedom to do whatever we wanted,"
she says. "When I finished my schooling in Ilam and wanted to go to
Kathmandu to pursue my studies further, they agreed immediately."
While studying in Kathmandu, Shrestha was drawn to journalism. She began
writing for weeklies and also worked with a local film magazine, 'Cinestar'.
It was during her stint as a reporter - which brought her in contact
with various actors, producers and filmmakers - that she developed a
keen interest in filmmaking.
She took her first steps towards a film career when she wrote 'Akalpit'
(Unimagined), based on a true incident in her community. Inter-community
marriages are not very popular in traditional Nepal and as a young girl,
Shrestha had been shaken by the suicide of a girl from the Newar
community. The girl had married outside her caste but the marriage was
not a happy one and she went through rejection, unhappiness and despair
before she finally took her life.
'Akalpit' was followed by several scripts, the most memorable of which
was 'Bhai- tika' (Brother's Day), which was serialised by the state-run
Nepal Television. The serial made Shrestha a household name and so, when
she decided to direct a full-length feature film, she did not face the
problem of garnering the necessary finances, as most newcomers in
Kollywood usually do.
While still writing scripts, she became acquainted with director Ramesh
Rai, from whom she learnt the basics of direction. But when she decided
on becoming a full-time filmmaker, Shrestha enrolled into a filmmaking
course to gain hands-on experience. For her debut venture, 'Prem Yuddh',
Shrestha once again chose a woman-oriented story. In the movie, the
protagonist, a strong-willed woman, fights for equal rights for women
and is later treated at par with her husband. "The message I wanted to
convey was that parents-in-law should love their daughters-in-law more
than their sons," says Shrestha.
Though there have been several special screenings of 'Prem Yuddh', it
has not been released commercially due to the queue system in Nepal's
theatres. As per the queue system, the Chalachhitra Nirmata Sangh - the
umbrella organisation of film producers in Nepal, draws up a roster for
the screening of new films. Though mostly guided by the completion dates
of movies, the screening is also influenced by how well known the
director and the cast are.
Then there was the setback of the Maoist insurgency in 2003. With
hit-and-run attacks in the capital, people had stopped going to cinema
halls. However, Shrestha now plans to release the movie by May-end when
it will run for three weeks in Kathmandu's Bishwajyoti Theatre.
So, how have family and friends reacted to her achievement? "My husband,
who is a teacher, and parents are very supportive. Either he or my
mother babysits my seven-year-old son when I am away," she says.
"Suchitra has potential, but it is tough for women to make it big in our
industry. Producers are wary about investing and newcomers are rarely
encouraged. There is also a strong gender bias. Though Kollywood accepts
women as artistes, it is not familiar with the concept of women
directors," says Ramesh Rai.
Has Shrestha ever faced any problem with male colleagues? "As far as
work is concerned, I am treated with utmost respect and consideration.
Like any other male director," she replies.
When she is behind the camera, her main objective is to bring to light
women's issues. "I look at social issues, especially the imbalances and
distortions in society. My aim is to convey the message that there
should be some change initiated to see that these imbalances are
corrected... and that it is women who will be the catalysts of this
change," she says.
Shrestha has currently begun work on her second project. Titled 'Chithi
Timi Lai' (A Letter for You), the new film stars Nepal's reigning star
Rajesh Hamal. However, the shooting will start only around early June. "Shrestha
has to live up to a lot of expectations with her new film," says Babita
Basnet, who edits the weekly 'Ghatana R Bichar', and heads Sancharika
Samuha, a forum of women journalists in Kathmandu.
Why is working in the film industry still considered objectionable by
the general public? Basnet blames the negative perception people have
about the film world. "Educated families are loath to send their
daughters into the film industry because of the casting couch belief,"
she says, "Actors, directors, technicians - everyone involved in the
industry - should work together to create an environment of
respectability."
Basnet believes film journalists can play an important role in promoting
the industry as a viable and respectable career option for women. "Much
of Nepal's film journalism is centered on gossip," she says, "Instead,
they should concentrate on talent and skills and make people realise
that it is a profession just like any other."
May 5,
2007
By arrangement with
WFS
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