JOIN US'I want my work to create new perspectives'
Prataya Saha is a Bengaluru-based independant filmmaker, theatre director and photographer. He made his directorial debut in 2016 with ‘Anna’s Weekend’. His films have been a part of the festival circuit and has been featured at the 14th International Independent film festival, Dhaka, Oaxaca Film Fest, Bengaluru International Film Festival, Woodpecker International Film Festival, the Best of India Film Festival, SFCC and Cardiff International Film Festival among others.
His latest project ‘The Lost Bride’, released earlier this month, is a part of a series in black and white that highlights the various plights faced by women. Through the series, Saha aims to draw attention and create conversations around topics that have generally been viewed as taboo. Metrolife caught up with Saha to find out more about the project.
A lot of your work revolves around women. Is that a conscious choice?
Most of my work revolves around the unfair treatment women face in the patriarchal society. This is something that is very personal to me. A distant aunt of mine, who I was very close to, experienced this and I was exposed to the unfairness of it all at a very young age. Seeing someone close to me suffer because of such mentality left a deep scar. I want my work to create new perspectives and open a dialogue.
Tell us more about ‘The Lost Bride’.
It is the second installation in a series that focuses on issues such as marital rape, postpartum depression and same-sex relationships. I have chosen about eight themes to cover. ‘The Forbidden Kiss’, first in the series, was about same sex relationship. ‘The Lost Bride’ focuses on drug abuse in women. Most mainstream depiction or conversation around drugs revolve around men. Research shows that women have higher chances of relapses but social stigma prevents them from seeking help, which makes the situation worse.
How integral is research for your projects?
It is very important. This particular series was shot in March last year but preproduction took four months before that. Postproduction work, such as editing and finding the right music, took time. These are personal projects and not time-bound. So, I take my time with them and allow the idea to evolve, which helps better my project and reach more people.
You bring together photos and videos together in your series. Why this format?
These projects fuse different forms of art together. A series of still photographs were interlaced with music and effects. I approach art in a very basic manner. A film is a set of moving images at a 24-second frame. The images coming in close proximity with each other gives you the idea that it’s moving. The hybridisation of art forms allows you to break the structure and rules, which is what I attempt to do.
Why black-and-white?
It was a very conscious choice. I took inspiration from the quote, “Life has become colourless”. Considering the grave topic, I decided to remove the colour from the photos.
Do you think the narrative format of your project takes away the audience’s autonomy to create their own perspectives?
I am a filmmaker so I am always telling a story. People are glued to stories whatever the format. Creating a narrative obviously affects the audience perspective. The series only makes sense if you go in the order. I leave a trail of breadcrumbs so that they get to see my side.
For me, it is important that it is a story with a purpose. But, my message is always neutral — I don’t give directives, only facts. Whether they reach the same conclusion as me is to them. Of course, I am always enthralled by people who are moved by my work. People being receptive is a huge is an award in itself.
What’s next in the series?
The next one is on marital rape. This series will feature both, the victim and the perpetrator and will be the first one to feature a man.