Vaimanik is not just another Konkani film, it is a cinematic experiment that has redefined what independent filmmaking can look like in India. The film, which premiered at the prestigious Red Carpet Gala at the 56th International Film Festival of India (IFFI), is a visually rich period drama, set against the 1960s Goa, was created almost entirely by one man, Nitish Pires. From the writing desk to the camera lens, from the music console to the editing timeline, every frame of Vaimanik carries his signature. With no crew behind him, the filmmaker crafted a full-length feature single-handedly, an accomplishment that remains rare in Indian cinema.
Meanwhile, the story explores childhood dreams, brotherhood, and the fragile strength of hope, echoing Nitish’s own journey as an artiste. Known across India as a musician and the recipient of the Most Influential Music Icon title in 2023, he brings two decades of sonic storytelling to his first feature film. We sit down with Nitish Pires to unravel the making of Vaimanik.
So how did he manage to do it all alone? “Around 1999–2000, I had a band called Nakshatra. Back then, if you wanted to grow as a musician, every label expected music videos along with audio demos. We somehow managed, but I quickly realised that if I wanted to push my music and my band, I needed to make videos and I couldn’t afford professional ones. I borrowed a handycam, started experimenting, editing, teaching myself everything. Over time, I got good at editing and understood the entire filmmaking process. At the same time, I was also composing jingles for TV. I did more than 250 ad jingles. I spent a lot of time around big ad filmmakers in Mumbai and was always hungry for knowledge. That exposure gave me a strong foundation. Eventually, I began directing my own band videos, then commercials, and people appreciated my work. The only skill I lacked was cinematography. So in 2016, I finally took a course. From there, I kept experimenting, made short films, more commercials, and at some point, I felt ‘I’m ready to make a feature film on my own.’”
He adds, “I had 20 years of experience in music and sound, 10 years directing, and now cinematography too. As a first-time filmmaker, getting funding was difficult, especially for the kind of stories I wanted to tell. And I wasn’t willing to compromise. So I decided to do it alone. I saved money from gigs — I’m a rock musician, I perform every evening — bought equipment slowly over two to three years, trained with a drone pilot, prepared for six years. And finally, I shot the film as a one-man crew, with just the actors and one assistant. Two months for the shoot, one and a half months to write, four months of post-production including VFX — in six to seven months Vaimanik was ready”.
So, how did the idea for Vaimanik come to him? “The way tourists see Goa and the way locals see it are completely different. Many films made here are from an outsider’s perspective. But I’ve lived here for a long time and I see the interiors, the non-touristic places, the untouched beauty and simplicity of life. For three years, I had only one thought: I wanted a story about a little boy. A fisherman’s son. That was the only idea, but no story. Then one day, just before production, I was chatting with someone at a vada-pav stall. I asked if he knew any local legends or stories. He said something about a ‘pilot’. In Goa, a ‘pilot’ is a motorcycle taxi rider, not an aircraft pilot. The moment he said the word ‘pilot’, something flashed in my mind, which were the memories of my mother taking my brother and me to watch airplanes from far away in the ’80s. We couldn’t afford to fly, but imagining what was inside a plane was magical. Another memory came back — an image from my childhood textbook of a boy named Hassan standing on a beach, looking at the horizon. Those two memories collided, and the story arrived instantly. Within a minute, I had the core idea: a little boy from the past, from a time without electricity, who dreams of flying. That was it.”
Ask him about the global prospects for Konkani cinema and pat comes the reply, “Vaimanik is a Konkani film, but I’ve made it as world cinema. I didn’t want it to feel restricted to local colloquial style. I wanted Goan culture to be presented in a way the world can connect to. Konkani film is still in its infancy — unlike Tamil or South Indian cinema, which is huge. We are a very small industry and business is tough. We’re trying to build a base, encourage Goan audiences to go to theatres, so we have support and funding.I hope Vaimanik performs well outside Goa too. If that happens, it will help fuel the growth of the Konkani film industry.”
He adds, “Vaimanik is a love letter from Goa to the world. Sometimes visitors may have bad experiences, but that’s often just the tourism side. Real Goans — the ones in the interiors — are simple, warm, beautiful people. Through this film, I want the world to see that real Goa.”
Between music and filmmaking, what does he enjoy more? “At heart, I’m a musician and a live performer. But for me, cinema and music are connected. In my belief, everything begins with sound — even creation itself. A visual is just the manifestation of a sound. When I used to write songs, I visualised stories internally. Now, with cinema, I simply manifest those internal images into a visual medium. So both go hand in hand. But if I have to choose, yes — I’m a musician who makes films.”
For more updates, join/follow our WhatsApp, Telegram and YouTube channels.