Interview With Director Lakshmipriya Devi (Boong)

BOONG, won the Best Children’s & Family Film award at the BAFTAs this past Sunday (22nd Feb). It was a wholly unexpected win and a total David & Goliath moment for a low budget, Manipuri-language, indie, taking such a huge award, considering it was up against big studio productions such as Zootropolis 2. 

Our awards editor Rehna Azim spoke to director Lakshmipriya Devi about the incredible achievement…

What is that moment like when the name of your film is called out?

I went blank. I thought, did they say Boong or Zoo. It was unbelievable and for a few seconds I couldn’t move from my seat.

You were surrounded by huge stars, big directors. Was there anyone in particular you were really excited to meet?

I really wanted to meet Chloe Zhao. I haven’t watched Hamnet because it’s not out in India yet. But I’ve seen the trailer and I always watch Chloe’s interviews. She is the complete opposite of me. She’s so Zen and everything she says makes sense. I just love her. She was within touching distance of me but, you know, celebrities get harassed all the time. You have to give them some privacy, even if they seem very approachable.  And I didn’t want to be seen as some sort of stalker! So, I didn’t approach her. I was just happy to be near her. I would like to write to her, however. I might get in touch with her via her social media.

What does this win mean for the film? 

It’s super, super good for the film. It’s a regional film and if you’re familiar with  the set up of the film industry in India, you’ll know we are a completely insignificant, small film. But this award will give it life. Hopefully, more people will now want to watch it and my producers will come up with a way to get it out there so that they can. I have total faith in my producers. I trust them completely and blindly follow whatever they advise.

You won in the children and family section.  How did you approach making a film that is aimed at the children/family market? Was there anything you felt you couldn’t say or do in the film? Were you a bit careful with the script?

No. Firstly, I thought this was going to be my first and last film. It was professional suicide to make a completely Manipuri film. Normally, everyone advises you to make a film in the Hindi language. But I thought this may be my only chance to say what I want to say and pay tribute to to whatever aspects of Manipur I wanted to pay tribute to.

Personally, I’ve always been drawn to films that are simple. I wasn’t making a James Bond movie, so I kept it all very simple. This isn’t the first time I’ve written something but it’s the first time I wrote something and really wanted to make it into a film. So, really, I wrote it for myself. I once watched MasterChef Australia and Marco Pierre White said something which has stayed with me. He said, do not put food on a plate that you wouldn’t want to eat yourself. It was his advice to the cooks that were competing on the show. But I thought what he said applies to anyone in any field. It stuck in my head. 

In simple terms how would you describe this film to those who haven’t seen it?

It’s about the journey of a boy’s gift to his mother. And that is universal. Anyone can relate to it, wherever in the world they are, because there are subtitles.

This was a low budget production, made in difficult circumstances, what kept you going?

I had to tell the story. It had to get out. So I never gave up. Like I said, I thought it was going to be either my first or last film, so I was definitely not going to give up. 

How long was the shoot? 

We filmed it over 38 days.

What do you want audiences to take away from the film?

Closure and new beginnings. It’s two things – it’s about closure and new beginnings. That nothing can move forward without closure, whether it’s interpersonal relationships or anything.

The film has been on the festival circuit, how important are festivals for a film such as this?

Festivals are hugely important for a small, independent film, like this. A festival is the only platform that can keep a film like this from dying. If you make a small film, go find out what festivals are out there. Go make friends with the people who run the festivals, get in with them, apply and get your film seen. The main stream is very difficult to get into. 

How important are awards for a film like this and especially winning them?

Again, it’s the only way to keep a film like this alive. A win makes people want to see the film. People say awards don’t matter but they do for a small film like this. They’re important. I mean, the Bafta? I’m still shocked! 

How did you celebrate the win?

I have not celebrated yet. I’m still just replying to all the messages I’m receiving. I’m spending my time just typing thank you, thank you, thank you to everyone! 

Who is writing to you? Is it other filmmakers, the public? 

Friends, other filmmakers, you know, the industry has been so lovely. I’ve had messages from actors in Bollywood and the directors. Everyone, Kareena Kapoor and Karan Johar, Priyanka Chopra. They’ve all been tagging me into their social media. 

You said that, usually, films in India are made in Hindi. Does it please you that you’ve had this great response from Bollywood?

I think they would have responded to anyone. It’s ultimately a film.

Do you think you might be working with some of the bigger names now? 

I’ve worked with a lot of the big Bollywood stars, during my time as an assistant director. They are super intelligent people and they won’t just work with anyone. They’ll go by the script and if you have something to offer.

What’s next for you? Where do you and the film now go?

I’m going to bed! It’s my first priority. I was not well leading up to the Baftas and health comes first. After that, maybe something will come to me, a story that I want to tell. I also need to go see my mother. I need some Zen time. I don’t want to just jump in to something new.

How do you see the future for women filmmakers, especially Indian film makers? 

Bright. The future is bright. And not just for female filmmakers. That’s putting someone in a box. I think it’s bright for Independent filmmakers, irrespective of gender. I believe the future is always in your hands. Take a leap of faith and jump in.

At the end of an interview, I always ask an interviewee to share a movie memory. Do you have any?

I have two. When I was at school, back in the days of VHS tapes, yes I’m from that era, we used to hire tapes to watch films. I was in a hostel and would watch films with my friends. I watched Roman Holiday. I cried so much. In those days you didn’t have cell phones. A call would come through on the landline in the phone booth, you know, calls from home and you’d go take the call and come back to the room where everyone was. So, when I came running back into the room, crying, and people saw me, they thought someone, at home, had passed away or something.  I cried so much when he (Gregory Peck) walked away. I can never forget that. I don’t think I’ve reacted with such emotion to any other film since. 

More recently, I saw a film by Jafar Panahi called Offside. It’s a must see. It’s brilliant. It was shot during the World Cup and was done guerrilla style because Iranian girls were not allowed to watch a football match. It’s so amazing, especially the end. I just wanted to jump inside the screen and celebrate with them.