Rahul Roye's ‘A Lullaby for Yellow Roses’ makes it to NYIFF
Kolkata's Rahul Roye’s A Lullaby for Yellow Roses comprehends human emotion, especially grief, which is often bound by gender norms. Traversing through the inner sanctums of grief, coming to terms with it, and holding up for the world, the movie reflects a very pertinent instance in the society. As it makes way to the New York Indian Film Festival, the second nomination for Roye, we catch up with the director on the movie and more.
Take us through the plot of the film?
A Lullaby for Yellow Roses follows a migrant working-class couple grappling with the heartbreaking loss of their daughter to an ill-fated custom. Through their mourning, we probe into the distinctive ways grief is influenced by imposed gender norms.
How does it feel to be nominated at the NYIFF?
It sure feels overwhelming. Growing up as a film enthusiast, I used to follow all my favourite Indian filmmakers’ works curated at NYIFF. It was a dream back then to bring my film here. NYIFF played our earlier short Man & Wife in their 2022 edition. The screening went superlatively well and it garnered a great response. This is our second time at the much-esteemed festival and we couldn’t be more grateful to the programming team for recognising our effort.
Do film festivals truly open doors for cinema to a larger audience?
Of course, they do. Especially it’s a blessing for independent cinemas that won’t possibly obtain a theatrical release. I’ll give you an example. When we lost all hope of watching Joyland (2022, Pakistan, Saim Sadiq) in a theatre in India, DIFF brought it into their program and people sat on the floor to watch this gem of a film. The hall got soaked in silence and tears. It received so much love that the festival announced another screening later the next day. It too was a houseful. And for short films, usually, film festivals are the most, and in many cases the only way to showcase them to the audience. Thankfully, A Lullaby for Yellow Roses has been acquired by Canal+ (France) on their streaming platform. But for Man & Wife, the 158 film festivals it has travelled to, are the only bridge with its audience.
Was it challenging to find the right cast?
Well not really. Though I didn’t have any actor in mind while writing the screenplay, the producer Abdullah Al Kandari (the story is his) and I had a clear vision of the cast. So, after a brief audition, we locked Somnath Mondal as Pankaj. He has done a brilliant job in the film. And, for Beena, I loved Trimala Adhikari in Haraamkhor (2015, India, Shlok Sharma). We approached her with the script and she kindly auditioned for the role.
Do you think independent filmmaking is slowly getting its due recognition?
I believe, contemplative independent cinema always had its share of the audience. But sure, the number is increasing, thanks to the arduous film festivals and the OTT platforms, people are being driven more by meaningful stories over star-studded charisma. The distinct line between intellectual and masala cinema is blurring for good all over again.
What are you currently working on?
Alongside producing and writing scripts for talented directors and teams, I’m developing my next directorial short trailing an AFAB transman facing a sudden life-changing quandary.
A Lullabuy for Yellow Rose is selected under Shorts category and is scheduled for a screening on June 2, 2024. Tickets to the same are available at the official NYIFF website.