Cinema has the power to show all facets of society, says Stenzin Tankong, whose Last Days of Summer is being screened at Chitrashaala Short Film Festival. He tells us how his films portray Ladakh, and more.
From Iranian and Japanese movies to the landscape and culture of his native place Ladakh, filmmaker Stenzin Tankong draws inspirations for his works from diverse sources. His short film Last Days of Summer, being screened at Village Square’s Chitrashaala Short Film Festival on Aug 3, blends all these sensibilities to depict how climate change is impacting the life of the local nomadic community at Changthang region in eastern Ladakh. He talks to us about his journey so far and what lies ahead in his filmmaking career.
Stenzin Tankong: Like many in our country, I started in Pune, then moved to Mumbai to seek work as a filmmaker’s assistant. The grind there is intense, and despite hearing about renowned filmmakers you rarely get to work with or even see them. After struggling for about a year, I decided to return to Ladakh and tell my stories.
During my studies at Symbiosis Institute of Media and Communication in Pune, I was exposed to remarkable cinema, especially from Iran, post-World War II Italy, and Japan during the era of Akira Kurosawa and Yasujirō Ozu. These films truly captured my attention and shaped my vision of what movies should be like.
Ladakh, being remote, had seen some filmmaking, but mostly mimicking Bollywood styles – typical stories with villains and such. While these touched on social issues like caste, religion and gender, they were presented in a Bollywood fashion. Having been exposed to Iranian and Italian films, I envisioned a different approach.
Iranian films, in particular, resonated with me. I saw Ladakhi emotions and landscapes in them. The Italian neo-realist approach of using non-professional actors from everyday life also inspired me greatly.
Watch: Chitrashaala – Village Square’s short film fest trains the lens on rural India
As a descendant of nomads from the Changthang region in eastern Ladakh, I felt it crucial to highlight our way of life, which is slowly vanishing. Though I’m more inclined towards fiction than documentaries, I decided to set my stories in a nomadic context. So far, I’ve made two independent short films – Sekool and Last Days of Summer.
ST: After getting exposed to works of filmmakers like Abbas Kiarostami, Majid Majidi Mikio Naruse and Akira Kurosawa, I felt I didn’t need a formal film school. I believe the best film education comes from watching great cinema and then making movies yourself.
Don’t worry about who’s judging you. If you can’t stand by your own films, no one will watch them. That’s the mindset I adopted.
ST: Cinema has a unique advantage – people approach it lightly. When tired of life, they watch a movie to relax. Unlike books, which attract a specific audience, films can reach a broader public. I aim to make movies that everyone can understand, not just cinephiles or intellectuals.
The power of cinema lies in its ability to portray society, not just its problems. Through actors, we can represent a community’s way of life – how they dress, walk and talk. My advantage is knowing Ladakh since birth, which brings authenticity to my work.
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In Last Days of Summer, I used Changthang, a dialect close to Tibetan spoken in eastern Ladakh. For outsiders, it’s all subtitled, but for Ladakhis these details matter. It’s about capturing a way of life that might soon be gone forever.
ST: After making Sekool, which had just four characters, I wanted to create a more complex film with multiple characters and intricate story arcs. It’s a way to practise for eventually making feature films. I needed a story that would interest everyone while addressing social issues.
I aimed for a narrative that could grab general audiences’ attention, be it through thriller elements, suspense, drama or comedy. The film was partly inspired by the Boy Who Cried Wolf tale, but I adapted it to our context.
I wanted to address the urgent issue of climate change. It’s like a ticking time bomb for me. I believe we’re on the brink of a catastrophe that no science, machine or money can solve. This sense of impending crisis, which we’re often deaf to, is woven into the story.
ST: In Ladakh, we see the effects of climate change very directly. I can drive 50-100 km from here and see glaciers receding year by year. The nomadic way of life, which relies on ancient wisdom about seasonal movements, is being disrupted because they can’t predict changes anymore.
Watch: The life of a nomadic boy in Ladakh
Summers in Leh are unexpectedly hot now. There’s uncertainty about winter snowfall, which is crucial for next summer’s water supply. No snow means no water, and no water means no life.
We’re seeing entire villages relocate due to water scarcity. Recently, Kullum village, just 60-70 km from Leh, had to move because their water stream dried up. It’s alarming.
Nomads are particularly vulnerable. They depend entirely on nature for their herds of 500-1,000 goats and sheep. Without sufficient rain or snow, grass doesn’t grow, affecting their livestock. If they lose their cattle, what will a nomad do? That’s why they live at such high altitudes of 14,000-16,000 feet.
Also Read: Taking a deep dive into climate issues through cinema
These changes aren’t gradual. We’re experiencing the immediate and direct impact of climate change here in Ladakh.
ST: First, don’t let stories of struggle discourage you. Many give up just hearing about the challenges in the film world. Money concerns often scare artists, but don’t be afraid. Be honest with yourself about why you want to be a filmmaker and don’t choose it just for the celebrity aspect.
Start by making a movie with your phone. Everyone has a camera now – use it. Don’t overthink or judge yourself too harshly. Just write and shoot. It’s easy for me to say it, but that’s what I’ve learned and done.
Tell a story you genuinely believe in. Don’t aim for an Oscar. Aim for honesty.
When I was a student, I challenged myself to make an independent short film every semester, apart from college projects. No matter how busy I was, I ensured I made one short film each semester. Don’t worry about whether it’s good or bad.
Your film can be about anything – science fiction, drama, whatever. But it must be honest and come from your heart. That’s the key to meaningful filmmaking.
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Village Square’s Chitrashaala short film festival focuses on stories from rural India.
Date: August 3, 2024
Venue: Alliance Francaise, Lodhi Road, New Delhi
The lead image on top shows a still from Last Days of Summer, a short film by Stenzin Tankong. (Photo courtesy Stenzin Tankong)
