
Development is often viewed as the cornerstone of nation-building, driving progress through manufacturing, healthcare, and agriculture. However, what happens when this progress comes at the expense of those living on the margins? When growth is measured solely by economic expansion, the stories of those displaced and forgotten often go unnoticed. Two films recently screened at Shiv Nadar University in Delhi NCR bring these untold stories to light—Chitrangada Choudhury’s Seed Stories and Ajay T.G. 's Koi Chand Bhi Nahin (There Is No Moon) serve as powerful commentaries on the human and environmental costs of progress.
“What really is the definition of development? To understand its impact, you must experience the pain firsthand. Imagine the house where you were born and grew up, completely destroyed. Your family lying amidst the rubble. What would you feel at that moment?" asks filmmaker and Chhattisgarh-based activist, Ajay T.G. This sense of loss is at the heart of Koi Chand Bhi Nahin, a 28-minute film that highlights the devastating effects of mining in the coalfield operated by South Eastern Coalfields Limited (SECL), where homes have been demolished and fertile agricultural land has been seized in the name of development. The film alternates between glossy, pro-development narratives from the Chhattisgarh ministry and the grim counter-narratives from activists and an Adivasi family.
No leaving home
Ajay’s documentary explores how development in India often perpetuates inequality, focusing on the struggles of those who have been left behind. "They bring in big machines and slice through the land as if cutting a cake, and this continues to happen. Once a mine’s closure is declared, there’s an agreement to restore and return the land to villagers. Yet, this promise is never fulfilled," Ajay explains.
The film features Bachan Kunwar, an adivasi resident of Barkutta village, whose life was upended by displacement. Despite losing most of her family, Kunwar refuses to leave her land near the mining site, insisting that the government fulfil its promise of a job for her family. Her defiance against systemic forces is embodied in her refusal to abandon her home amidst the constant explosions from the mining site in Korba.
Koi Chand Bhi Nahin challenges the idea that industrialisation is the only pathway to development. It highlights bureaucratic hurdles, broken promises by government officials, and the stark disparities between the marginalised and the powerful, wealthy elite in the country. “My film and research aim to spark conversations about infrastructure, healthcare, and the resilience of marginalised communities," says Ajay. “Change is possible, but only if we work together to address these systemic problems.” He remains hopeful for a future where development respects human dignity.
Hit on agriculture, indigenous knowledge
While Ajay’s film focuses on the immediate human cost of development, Chitrangada Choudhury’s Seed Stories zooms in on the long-term consequences—on agriculture and indigenous knowledge. The documentary follows Dr Debal Deb, an ecologist, and his team as they work to conserve over 1,000 endangered varieties of rice in the Niyamgiri mountains of Odisha. Seed Stories highlights the dangers of genetically modified crops and harmful chemicals that erode traditional agricultural practices. Choudhury, who met Dr. Deb in 2014, delves into Deb’s critical perspective on the paradox of food security. Despite the dramatic increase in food production since the Green Revolution, food insecurity still persists. “There is food production, but there is no access, no justice when it comes to food,” Choudhury recalls.
By 2018, she and her associate director, Aniket Aga, had begun volunteering on Deb’s farm. “We started volunteering on their farm…They are trying to conserve 1500 endangered heirloom rice varieties on their farm here to distribute the seeds to farmers for free. It's a powerful example of traditional agroecology,” Choudhury says. Over its 42-minute runtime, the documentary captures the Niyamgiri region’s indigenous agroecological practices, with the second part focusing on the transformation caused by modern agricultural practices and the commercialisation of agriculture, including crops like genetically modified cotton, which overshadow indigenous methods. Viewers meet Kunuji Kulusika, an agroecological farmer from Niyamgiri, who shares her seed collection and traditional farming practices. Choudhury underscores the urgency of documenting this knowledge, noting, “Maybe 20 or 25 years from now, there won’t be anyone left like Kunuji.”
Aniket Aga critiques multinational corporations for shaping modern agriculture with profit-driven agendas that undermine sustainable practices. Aga explains that genetically modified crops and industrial methods offer no room for balance, either dominating or destroying traditional agroecological systems.
At the heart of Seed Stories is a message about the importance of balance. The film critiques the industrialisation of agriculture and its focus on profit over sustainability. It emphasises the need for agricultural models that prioritise food security, farmers’ knowledge, ecological integrity, and sustainability, rather than the profit-driven agendas of global corporations.
Both films challenge the narrow definition of development as mere economic growth. They call for a more balanced approach, one that values human lives, ecological sustainability, and cultural heritage over unchecked expansion. Development, these films argue, should not come at the cost of the people and ecosystems it seeks to benefit.
This article is written by Adithi Reena Ajith