Anuparna Roy scripted history at Venice

When Anupparna Roy accepted the Orriszonti Award for the first film songs of the Forgotten trees in Venice, at the beginning of this month, he had a rare victory for most women of his past.

Roy’s vicinity vicratory victory showed how big the moment is – as the first Indian director to win a category specially dedicated to new voices in independent world cinema.

This is a rising success, but Roy’s bases are of thousands of miles of Venice’s eye -catching palazzos in the Purulia region of the Western Bengal Province.

From Ritwik Ghatak to Satyajit Ray and Mrinal Sen, Bengal produced many auteur celebrated globally. However, unlike these, 31-year-old Roy moved away from the distinguished cultural influence of Kalcutta, and followed a better path worn by the small town Indians-a university degree and then a call center work.

Roy was an escape route from the marriage to me for a zoom conversation and a “a tool for economic stability” pressure. But it was much more.

While doing the software in Delhi, a chance meeting with film students triggered a love relationship with cinema, and Roy saved every penny won for the next six years to finance himself for the first time.

A few years later, after moving to Mumbai, Ranjan Singh watched Singh, the chief producer of the songs of forgotten trees at a party and asked him clearly: “Sir, would you like to produce a third world film?”

Sun of his bravery, Singh asked Roy to meet him the next day and tell him in less than 10 minutes. The meeting lasted more than a few hours and agreed to finance the project in days.

Roy, a hard fan of director Anurag Kashyap’s Wasseypur’s operational crime drama gangs, convinced Singh to show Kashyap, which will support the film.

The songs of the forgotten trees in the vibrating heart of Mumbai tell the story of two women from completely different worlds – Swetha, a moonlight and a call center business as an escort. They live together in the luxury apartment of Thooa’s candy father.

What begins as a living arrangement becomes a close relationship between the two women in the marginality and survival experiences shared in the same gender and urban expansion.

Hollywood correspondent movie “a sorrowful portrait What is necessary for women to survive “and” a “open -eyed, restricted, active story” of two young women who find solace in each other.

Another review Said Roy explores urban alienation with “extraordinary subtlety” and praises the deliberately slow, observational style of gravity, allowing the “emotional land of the characters to emerge with clarity.

Roy, who is officially uneducated in craft, said that it is a conscious decision to not comply with the rules of the traditional film production rules with long, medium and close shots, and instead of capturing the rhythms of daily routine more authenticly with continuous shooting.

He completely shot the film in his own apartment and even moved two leading actors during the period.

The songs of forgotten trees are deeply personal for Roy.

It was initially designed as a documentary – the central characters are inspired by the lives of Roy’s grandmother, and the step -daughter of the step -daughter, who shares a platonic but quietly sincere relationship.

Jhumpa, another character of Thooa’s friend, is based on Roy’s 12 -year -old Dalit community (formerly untouchable) Jhuma Nath.

“Personal political, Roy Roy said to me. “Jhuma Nath’s marriage was not a personal decision. The government encouraged Dalits to marry instead of studying – this is political. As a child, rice was given according to my body weight, whereas the children took books – this is political.”

Roy says that his childhood grows in the shadow of India’s economic explosion – he works hard in the rice fields of weakened men in Lungis (a tube -shaped cloth wrapped around the waist), and that women and families were washed in pools go to work in the construction site at the time of dawn.

“There was poverty and economic instability around me. And I echo with these people’s lives.”

It is not surprising that Roy’s roots and politics on the big day in Venice to wear the platform to support Gaza children.

He asked the designer to make a traditional hand -woven yellow that brings together the two worlds – Palestine and Purulia.

Hand -painted Sari with traditional Bengali motifs had the limits of the colors of the Palestinian flag.

He received criticism on social media, but he said he had stood tightly with his speech.

“I will use my voice to talk about everything that bothers us,” Roy said.

Next is a sequel to the cards and a Prequel for the songs of potentially forgotten trees. Scenarios are ongoing works.

But will he ever shoot a commercial film outside?

ANSWER A COMPANY NO.

“I can’t make sugar -covered cinema. Even if people upset, I have to make films representing the world we live in.”

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