Filmmaker Jeejivisha Kale’s Marathi movie Tighee has been receiving a lot of acclaim ever since it released earlier this month. Starring Sonalee Kulkarni, Neha Pendse Bayas and the veteran Bharti Achrekar, the movie tells the story of a family in crisis. Kale got talking about the film in an interview with us.
Tighee is a labour of love. How difficult was it to put together this project at a time when guns are doing all the talking?
Perhaps in times like these, it becomes even more important to think about the most powerful ammunition we have – love, kindness, and tolerance. Every person who came on board was, in some way, looking for a space like this in an increasingly volatile world. We believed deeply in the journey of these three women, and in many ways, we were led by them. But to also put it practically, the journey to make this happen became smoother with the solid backing from my producers at Coquelicot Pictures and Supri Media & Advertising. Their collective efforts and strengths gave this project the wind it needed to fly.
What was the germination point for Tighee? It feels like an occupied space, is it?
I am not entirely sure I understand the latter part of the question, but the germ of Tighee came from two very personal spaces. First, as an only child, I have often found myself wondering, especially in moments of difficulty, whether having a sibling might make things easier, or at least more bearable. Second, as a woman, one inevitably experiences layers of objectification, to the point where being constantly prepared becomes second nature. These thoughts led me to a larger question – Who is looking out for the children? And that is where the journey truly began.
How did you zero in on this wonderful cast? Were they all your first choices?
While developing the story and workshopping it with Nikhil (Mahajan), we reached a point where we could clearly see these characters as people. That is when we approached Neha. She not only connected with the concept but also chose to back the film. She became my Swati. Once that happened, we needed to build the family. While I was searching for Sarika, a scene in Nikhil’s Raavsaheb gave me a glimpse of the character in Sonalee. Bharati ji was an intuitive choice, and the impact of that decision has been felt by many. An actor of her comic calibre understands emotional rhythm deeply, and we were able to use that strength to our advantage.
Would you say Marathi cinema is suffering due to Bollywood dominance?
It would be rather ironic to say that at this moment, especially when our small film with a big heart has managed to hold its ground. This year began with a strong success like Krantijyoti Vidyalay Marathi Madhyam.
Last year also saw a rise in the number of debut directors in Marathi cinema with theatrical releases such as Ata Thambaycha Naay!, April May 99, and Dashavatar. These are encouraging signs of a growing and evolving space.
How important is it for you to wed your filmmaking to reality?
I do believe cinema has always reflected society. But in terms of my own vision as a director, I prefer to let the story guide how it should be translated onto the screen.
Tighee, to me, required a gentle yet grounded approach to explore the inner worlds of its characters, and that is the path I chose. I hope to revisit this question at a later stage in my journey, with more experience and perspective.
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