Filmmaker Deepa Mehta was recently conferred with the Cinema Honorary Award, which is the highest honour for filmmaking given by the Singapore International Film Festival. The veteran director spoke about the same and more in an interview with us.
At this juncture of your life and career, what does an honour of this kind mean to you?
This particular honour from Singapore International Film Festival moved me hugely because it was the first time a woman was given this award in 36 years - to break this continuum felt good.
Do you feel you still have more to say through your cinema?
Sometimes I feel I do, and at times nothing at all.
With global politics being what it is, do you feel the need to address global issues through your cinema?
Global politics are in a pretty rough shape and always have been. But the speed and extent with which we receive the insanity surrounding us makes it feel more present and immediate. To address these through cinema seems lasting and therefore more effective than through an Instagram Reel.
What is your take on America and Trump’s bullying tactics? Are we looking at more politics of annexation the world over?
I think Trump is one of the most dangerous men in the world today. Largely because he is an unpredictable authoritarian a**. But he isn't doing anything that has not been done throughout the ages with imperialism. It’s his overt way of causing chaos that makes him so frightening.
The government once stopped your Water in Varanasi. Would you say the cinematic voices are growing progressively more stifled over the years?
Cinema being stifled depends a lot on the politics of the country it comes from. This year, the array of simply superb Palestinian films gave me huge hope of the power of cinema.
Among your films which are the ones you cherish the most and why?
It’s tough to look at my films with dispassion. Each of them is special in its own way. I guess 1947 Earth feels more relevant than others because, despite it being set in 1947, it speaks to the current heartbreaking genocide in Gaza.
Which films did you enjoy recently?
Neeraj Ghaywan’s Homebound, which I saw at TIFF (Toronto International Film Festival) was brilliant. As was The Voice of Hind Rajab. And if you can catch it, don’t miss Panahi’s It Was Just An Accident. On another note, saw this superb Indian film called Pyre directed by Vinod Kapri a few months ago. It continues to haunt me with its poignancy. And of course Onir’s We Are Faheem and Karun is a landmark film.
What are you working on now?
On a film called Forgiveness based on a true story about the Japanese Internment camps in Canada, where Canadian-Japanese citizens were placed during the Second War. What we do to our own citizens when their ‘look’ , ‘garb’ or religion differs from the populist ruling government is despicable and heartbreaking.
What is that one dream project that you pine to make?
A film called Troilokya about a 19th century female serial killer in Calcutta is one I really hope becomes a reality.
Finally Deepa, as a socio-political filmmaker, what do you think of the increase in pro government films which show Pakistan as the enemy?
I haven't seen many of them but the ones I have, leave a lot to be desired.
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