Manipuri filmmaker Tushar Nongthombam takes us through his experimental film 'Delusional Decays' and more
Drawing from the society and influences around him, Manipuri film-maker Tushar Nongthombam’s short Delusional Decays is a film that talks about breaking free from the harsh and confining realities of today’s world. This audio-visual cinematic experience is an experimental piece that has floored the audience with its storytelling power. Screened recently in the city at the third edition of the Emami Art Experimental Film Festival (EAEFF) held at Emami Art, the film not only won a Special Mention in the Open Call Awards 2024, but was also the winner of the first edition of the EAEFF Awards. We caught up with the prolific filmmaker who blends reality and poetic metaphors so beautifully on the sidelines of the Festival.
Tell us about Delusional Decays and how was it conceptualised.
I got the inspiration to make this film from things that happen around us, especially in Manipur. There artistes don’t get much freedom to express what they want to express. So, in my film, various artistes have worked together including musicians and dancers. I told them to express freely in the movie and they created songs and movements about whatever they wanted to say. It’s a collaborative work where collective trauma was expressed.
For the unversed, how different is an experimental film from a regular film that one sees?
Mainstream films have a certain freedom to work in whatever ways they want to. They also have big budgets. For experimental films, we make them on very limited budgets and crew. We try to express in whatever ways we want by using limited technologies, resources, and budgets. We make these films because we want to express ourselves.
How important are film festivals for independent filmmakers to showcase their works?
It’s really important. If it’s an experimental cinema then we get the chance to meet newer artistes and the possibility of collaboration arises. That’s a great opportunity for filmmakers like us.
Are you satisfied with the fact that experimental films reach out to their niche audience? Or do you think that because these films have a niche audience it is limiting the reach of the movie to the mass?
I think I am satisfied with the audience that we have. It reaches the right kind of audience. I don’t aim for a wider audience. I make the films from my heart and share what I want to. So, I don’t expect a lot of audience. But all we really need is the people watching our work to support it.
You are a photographer, cinematographer and experimental film –maker. How are all these skills converging in your movies?
I started with photography which continued for five-six years. After that, I was thinking of making movies with moving images.
Which role do you identify the most with?
Since most of the time I work as a cinematographer, that’s the role I identify with.
How has Manipur influenced you in your life and find reflection through your works?
There are many untold stories in Manipur. It’s not getting a lot of exposure. Since I am born and brought up in Manipur, I see these more closely. I think we need to show what we have in this beautiful State to the whole world.
Do you think that the content made in Manipur is quite confined to the region and not many people have access to them? So, what changes can be brought about to make it more accessible to everyone?
I think if we make our films in the way that everyone can understand then we can break that wall.
So, is the content being produced now aimed for the Manipuri audience only?
I think its improving now. We are now having better exposure than earlier days and in every medium of art.
Are there any Bengali movies/directors whose works have really appealed to you?
Satyajit Ray. He’s a legend for us. I have watched his movies and other Bengali films too. By Ray, Pather Panchali is really good.
Are you currently working on any concept?
I was thinking of making a new film. So I am having meetings with new artistes and all.