My conversation with filmmaker Leena Yadav at the Brahmaputra Valley Film Festival 2023 in Guwahati, Assam, left me with a distinct mix of ease and nervousness. Seated with us, Leena, the visionary behind the captivating film “Parched,” was remarkably candid. The discussion effortlessly flowed from her insights on post-pandemic cinema and the evolution of queer cinema to her experiments with film formats and her recent favorite titles, including “Past Lives” and “The Fall of the House of Usher.”
Thrilled with her inaugural visit to BVFF, Leena expressed, “This is a community of passionate people who truly support cinema.” As someone well-versed in the culture of film festivals, with “Parched” premiering at the 2015 Toronto International Film Festival and “Rajma Chawal” at the 2018 BFI London Film Festival, Leena provided a unique perspective on the impact of the pandemic on the larger narrative in mainstream cinema. Contrary to expectations, she believes that the changes brought by the pandemic have not diminished the sense of community that film festivals offer. Instead, she notes a renewed sense of purpose and community, emphasizing, “Priority shifts have happened to all of us in our lives — which will be more visible in a few years when we are fully reeled out of the shock — but why we are doing what we are doing with film festivals has become clearer.”
Streaming platforms’ role in the mainstream, ‘Parched’ on Prime Video, and more
In our discussion with Tanushree Hazarika, the Festival Director of BVFF, she highlighted the role of streaming platforms in providing wider reach to indie and small films showcased at festivals—a sentiment echoed by filmmaker Leena Yadav. Leena emphasized the significant shift facilitated by OTT platforms, noting that previously, many festival films would fade into obscurity post-event. Unlike television, which was heavily reliant on theatrical success, OTT platforms make niche films accessible online, ensuring a sustained audience presence.
Leena’s multifaceted journey—from ad filmmaker to television director, feature filmmaker, and documentary filmmaker/series creator—has allowed her to witness cinema’s evolution across various mediums. While acknowledging that OTT hasn’t democratized the entire film industry and that the star system remains prevalent, Leena highlighted the platform’s role in amplifying new voices in cinema.
She anticipates a future where distinct storytelling styles will coexist, with a clear distinction between preferences for big-screen spectacles and streaming content. However, this perspective contrasts with accusations from some filmmakers who claim that OTT platforms demand “commercially viable” elements in pitches. Leena argues that the focus should be on understanding the audience’s preferences rather than blaming the platforms, emphasizing the business aspect of filmmaking.
Leena recognizes the challenges of navigating a star-struck culture, acknowledging that star power often influences audience choices. Balancing the need for publicity for niche films, she stresses the importance of finding innovative distribution strategies within the existing system, rejecting the notion of pitting OTT against theatrical releases.
Despite the global availability of “Parched” on a streaming platform in 240 countries and territories, Leena notes that feedback predominantly revolves around the theatrical experience rather than the digital premiere. She underscores the potential for expansive reach on OTT platforms but acknowledges that the dynamics can vary, citing the contrasting responses to “Parched” and “Rajma Chawal” in terms of global engagement and overnight calls from friends worldwide.
Experiments with format and genre, and where queer cinema stands now
Currently, Leena Yadav has delved into various genres across different formats, and her penchant for experimentation persists. Presently engaged in crafting short films, the creator of “House of Secrets: The Burari Deaths” seems inclined towards exploring more non-fiction projects. Leena expresses her commitment to continuous discovery, emphasizing the importance of learning and unlearning. Regardless of the genre, her focus remains on compelling human stories with intriguing psyches and moralities, and she strives to continually challenge herself.
Embracing the short film format, Leena recognizes its unique potential beyond merely condensing feature-length narratives. She believes in allowing the format to define itself and is currently utilizing abstraction to enhance storytelling. Experimenting with minimal dialogue, she is drawn to the visual and auditory aspects, finding excitement in pushing the boundaries of traditional storytelling.
As a fan of Pedro Almodovar and a filmmaker with a keen interest in queer narratives, Leena reflects on the evolution of such themes in recent years. While acknowledging progress in acknowledging the absence of representation, she notes a current focus on mere checkbox-ticking in portraying these narratives. Leena observes a phase of tokenism, where attempts at political correctness often lack genuine depth. She believes that this phase is necessary to progress towards a more authentic integration of diverse themes into narratives, where they are seen as natural aspects of life rather than forced inclusions. Leena suggests that society is still navigating an awkward phase in fully accepting and embracing these themes.
Balancing drama with facts and why composer AR Rahman is her favourite collaboration
Leena, a graduate in mass communications with a passion for non-fiction, challenges the notion that filmmakers must strike a balance between dramatic elements and facts in their films. Her experience with House of Secrets led her to the realization that reality can be more dramatic and stranger than fiction. Leena emphasizes the crucial role of film language and the filmmaker’s craft in shaping the narrative, irrespective of whether the content is dramatic or factual.
Expressing her desire to conduct an experiment, Leena envisions giving the same script to five different filmmakers to observe the diverse interpretations that arise. In her four feature films, she has collaborated with renowned actors such as Amitabh Bachchan, Rishi Kapoor, Ben Kingsley, and Sanjay Dutt. Despite the potential nervousness of working with veterans, Leena advises young filmmakers to recognize that everyone’s experience is unique in a collaborative environment.
Leena reflects on her collaborations, highlighting her experiences with AR Rahman for House of Secrets and Hitesh Sonik, the composer for Parched, as two of her most cherished partnerships. She praises Rahman for creating an open and communicative atmosphere, making the collaborative process effortless, even for those unfamiliar with the intricacies of music. Leena expresses a desire to work with Rahman again, eager to continue learning from his expertise.
Currently, Leena has recently directed a short film titled “Sharing A Ride,” featuring Jacqueline Fernandez, as part of the anthology “Tell It Like A Woman.” The anthology involves seven filmmakers from different countries telling stories with female protagonists. Leena mentions shooting a short film in Ladakh in December and eagerly anticipates her upcoming project, “Cowgirl’s Last Ride,” which she hopes will materialize in the coming year.
