National Award-winning director Manish Saini, whose film Giddh (The Scavenger) was screened at the Chitrashaala Short Film Festival, reflects on the art of short filmmaking, Gujarati cinema's revival, and the challenges facing regional storytellers in the OTT era.
Director Manish Saini’s filmography may be short, but it packs more than a punch. His debut work, the Naseeruddin Shah-starrer 2017 movie Dhh, won the National Film Award for Best Feature Film in Gujarati. The Ahmedabad-based filmmaker’s second directorial, Gandhi & Co., was adjudged the Best Children’s Film at the 69th National Film Awards. His short film Giddh (The Scavenger), which stars renowned actor Sanjay Mishra, has also won critical acclaim and accolades, and was screened at the recently-held Chitrashaala Short Film Festival, organised by Village Square.
In an exclusive conversation with Village Square, Saini talks about why he thinks regional film industries are producing better work than Bollywood, his love for short films, the issues afflicting OTT platforms, regional cinema, and more.
Manish Saini (MS): I’m drawn to simple stories of common people from small towns and their everyday struggles. These minor challenges fascinate me because they’re so relatable. Take my first film, Dhh, for instance – it was about kids believing they could pass exams through magic.
In today’s world of high-tech cinema, I think we’re forgetting to notice the small things around us. My priority is to capture these overlooked moments we encounter daily. They spark my imagination.
MS: It really depends on the story’s capacity. For example, when I wrote Giddh (The Scavenger), a producer asked if it could be a feature film. I told him it wouldn’t work – it would drag on unnecessarily.
Short films demand precision. Every shot and scene must have meaning because you only have 10-15 minutes. From the very first frame, you need to nail the character, situation, and premise simultaneously. Every shot, every scene must have meaning. It’s a condensed form of storytelling that doesn’t allow for wasted moments.
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Interestingly, I’m surprised that short films aren’t more popular. They’re the purest form of storytelling in my opinion. Unfortunately, OTT platforms struggle to monetise them, which is why they’re not as prevalent on these platforms.
MS: OTT platforms initially provided immense opportunities for filmmakers. They seemed like an exciting alternative to both cinema and TV, offering a space for diverse content. As a filmmaker, you hope that your work can reach a larger, more diverse audience, and OTTs promised that possibility.
However, the landscape is changing. OTTs are increasingly favouring certain formats, particularly TV series or films with sequel potential. It’s almost as if they’re becoming more like traditional TV in their approach. This shift is somewhat concerning for filmmakers who want to tell standalone stories or explore unique formats.
Ironically, despite subscribing to all major OTT platforms, I often find myself spending the first 15-20 minutes just trying to decide what to watch. The abundance of content can be overwhelming.
While OTTs have undoubtedly opened up new avenues for filmmakers, they’re also creating new challenges. The focus on series and sequels might limit opportunities for certain types of storytelling.
MS: There’s no real pressure. The Gujarati film industry has been experiencing a rebirth over the past 8-10 years, with filmmakers exploring new narratives and experimenting freely. We’re all trying different things, drawing inspiration from other regional industries.
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It’s an exciting time for Gujarati cinema. In 2019, Abhishek Shah’s Hellaro, which is about a group of women living in the Rann of Kutch in the 1970s, won the National Film Award for Best Feature Film. In 2023, Pan Nalin’s Chhello Show was India’s official entry for the Oscars. Despite the local audience’s preference for Hindi films, our industry is shaping up well. I think that in another 3-4 years, you will see a distinct Gujarati cinematic voice emerge.
I’m optimistic. We’re seeing a diverse range of films being made – from Bollywood-style productions to independent art house projects. While building a local audience remains a challenge, our films are gaining recognition nationally and internationally. As filmmakers continue to experiment and find their unique voices, I believe Gujarati cinema will carve out its own distinctive place.
MS: Absolutely! In Marathi cinema, Paresh Mukashi, Ravi Jadhav and Nagraj Manjule have become quite mainstream. The Tamil industry has K Manikandan and Vetrimaaran doing great work. And the Malayalam industry consistently produces terrific cinema – their filmmaking is incredibly evolved.
I genuinely believe that regional is the new mainstream cinema. Regional film industries are often producing better work than Bollywood because they tell authentic, original and honest stories.
Hindi films often follow set formats due to commercial pressures. Directors and writers have limited freedom because producers are bound by financial considerations. In contrast, regional cinema has more room for creativity and authenticity.
Also Read: Rural themes resonate with celebs and cinema lovers at Chitrashaala
Village Square’s Chitrashaala short film festival focused 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 Manish Saini’s Giddh (The Scavenger), which was screened at Village Square’s Chitrashaala Short Film Festival.
