Need indie film fund like the French one that made Cannes win possible: Kapadia

Basking in the afterglow of bagging a historic Cannes Grand Prix, ‘All We Imagine As Light’ director Payal Kapadia speaks to Ardhra Nair about what made it possible, the various influences that have inspired her, and why filmmaking is like stitching a quilt
Ardhra Nair (THE TIMES OF INDIA; June 2, 2024)

Can you share your experience of making an independent film without the support of big banners?
The reason I was able to make this film is because of the French public funding system, and I would like to take a moment to talk about this system. In France, a small tax is levied on every film ticket sale and a tax is levied on TV channels as well. From this, a fund is created that allows independent producers and directors to apply for funding. Distributors and exhibitors also get funding to distribute these films once they are complete. In our country, charging audiences a tax would be rather unfair. However, a tax on the profits made on blockbuster films can surely help in funding an independent film fund. If such a system was made in our country with an autonomous body to run the fund, it would only encourage more independent filmmaking. For a democracy to thrive, voices need to remain independent from big studios that are run by rich industrialists.

Looking back, how do you feel about the FTII protests? Do you stand by what you all stood up for?
The protest at FTII was one of the early student protests that took place. It was followed by many others. I am happy that we could be part of the larger discourse of the relevance of public institutions in India. Being a student of FTII was very important to me. It was a space where we could not only formulate our thoughts about filmmaking, but also about the world we inhabit. Filmmaking does not exist in a vacuum. It is through debates and discussions, questions and self-reflection that we move closer to the films we choose to make. FTII was a place that encouraged independent thought. One reason this was possible was because of affordable public education. Unfortunately, public institutes are becoming more and more expensive nowadays. These spaces can only remain relevant and encourage discourse if they remain accessible to all. If they become elitist spaces like various public universities have over many years, it will be useless to the nation. There are many private institutions that are made only to give opportunities to the elite. A space like FTII is somewhere in between at this point in time. We should strive for it to be even more accessible than the direction in which it is headed.

One of your professors, Sandeep Chatterjee, mentioned that you are grounded in poetry, and this is reflected in your filmmaking. Can you tell us more about how poetry influences your work and your approach to filmmaking?
I am influenced by many different forms of art — poetry, painting, music, animation — all find their way into my work. I think of filmmaking like stitching a quilt with many small fragments that come together to give us a whole new feeling.

What kind of cinema do you like?
I am a huge cinephile and I love watching all kinds of films. However, the cinema that excites me the most is one that mixes forms of fiction and nonfiction, and sometimes even fantasy. I like when all these forms merge into one another. For some reason in India, we have a strong urge to compartmentalize each of these types of films. But I love to mix them all up and see where it takes me.

You’ve spoken before about the importance of sisterhood in your film. Can you elaborate on how sisterhood shapes the narratives you create and why this theme is so significant to you?
I have been thinking a lot about friendship in this film. It is a very open relationship that is defined only by you and your friend. In our society, women are made to feel as if they are being pitted against one another. That is very unfortunate. I think friendship can lead to greater inclusivity and solidarity. Perhaps my time at FTII has taught me that.

What do you think about the current state of the Indian film industry, and where do you see it heading?
We don’t have just one film industry in India! We have so many different industries. Especially remarkable to me is the cinema from Tamil Nadu, Kerala, Karnataka and Maharashtra. In these states, there is a range of films that are really taking on a lot of important questions. Recently, Kerala govt started a fund that supports female filmmakers as well as filmmakers from under-represented castes. I think this is the need of the hour. I hope more states start doing the same.

What stories are you looking forward to telling next?
I am interested in seeing how I can incorporate more nonfiction into my films. I am planning on doing some short experiments as a learning exercise. Let’s see where it takes me.

How do you think winning at Cannes will impact your career?
I don’t know yet! I am hoping that the next film won’t take five years to fund like the previous one did.

If your life were a movie, what genre would it be?
If my life were a movie, it would be a tragic comedy!
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BOMBAY TIMES (June 2, 2024)

Payal Kapadia’s All We Imagine As Light recently won the Grand Prix, the second-highest honour at Cannes Film Festival. The filmmaker, who has been showered with congratulatory messages since the win, has released a statement and shared what steps can be taken to make such accolades more common for the Indian film industry.

Addressing how the selection for Cannes made the team both “excited and nervous”, she said, “We were in the middle of completing the postproduction when we found out that it was selected for competition at Cannes. This was beyond what we had expected. It made us both excited and nervous. Just one year ago we had started preparation on the film and now exactly one year later we were all together again but in a completely different context and a completely different world. It’s always a pleasure when a unit can be like a family of friends. And this is an extension of what our film is about.”

‘WHY CAN WE NOT SUPPORT MORE INDEPENDENT FILMMAKERS?’
Reflecting on why it took 30 years for an Indian film to be selected in Cannes’ main competition section, she said, “People at Cannes asked me why it is taking 30 years for a film to be selected. While I did ask the selection committee this question, we should also ask ourselves this as well. Why can we not support more independent filmmakers? One of the reasons I was able to make this film is because of the French Public funding system – a small tax is levied on each and every ticket sale of a film as well as a tax levied on TV channels... In our country, charging audiences a tax would be rather unfair. However, a tax on the profits made on blockbuster films can surely help in funding an independent film fund. If such a system was made in our country with an autonomous body to run the fund, & would only encourage more and more independent filmmaking. For a democracy to thrive, voices need to remain independent from big studios that are run by rich industrialists.” Payal also lauded the Kerala government’s initiative of starting “a fund that supports female filmmaker’s as well as filmmaker’s from under-represented castes. I think this is the need of the hour... I’m thankful to people in the Kerala film industry. So many well established actors and producers were very supportive to our team.”