Emerging from the creative forge of film-making, Sahadev Kelvadi steps into the limelight with his directorial debut, “Kenda,” meaning burning coal. Following his involvement as the co-producer of the 2019 acclaimed movie, “Gantumoote,” Kelvadi takes up multiple roles in this new venture, serving not only as the director but also as the cinematographer. His partner in cinematic endeavors, Roopa Rao, the director of “Gantumoote,” backs him as the producer of “Kenda.”
Addressing us from his studio in JP Nagar, Kelvadi enlightens us about the film being a socio-political satire threaded through the fabric of disorganized crime. “Kenda” embarks on the narrative of aimless, jobless youths whose encounter with crime spirals their hollow existence into chaos. It paints the peaks and valleys of the lead, a factory worker entwined with the law’s darker strands.
The film is more than a crime story; it’s an intricate examination of characters set against a backdrop of political tension filled with camaraderie and double-crossings. Discussing the significance of the title, Kelvadi expresses his philosophy that within everyone, there lies a dormant issue that can ignite with a spark, transforming into a blaze. Hence, “Kenda” symbolizes these smoldering embers veiled by ash.
Kelvadi’s journey in the cinematic world is relatively nascent. Like many South Indian youngsters, he initially pursued engineering. Following this conventional path, he ventured to NYU Tisch School of Arts to refine his mastery in filmmaking. There, he concocted a short film mirroring the story and title of his present project, “Kenda,” which draws inspiration from his thesis script during his educational tenure in New York. From 2007 to 2017, Kelvadi inhabited the role of an interim professor at the same university, imparting wisdom in the art of cinematography.
The decision to return to India marked a turning point where Kelvadi and Rao joined forces to conjure “Gantumoote.” Both are at the helm of Ameyukti Studios, which serves as the launchpad for both “Gantumoote” and “Kenda.” Their production house symbolizes their ambition to craft the films they envision without constraints.
“Kenda” stands on the horizon of its unveiling, awaiting release just after Republic Day. The film is current in the meticulous phase of post-production. Kelvadi outlines the challenges of donning multiple hats within the project as positive trials. The movie’s ensemble, including cast and crew, introduces fresh talent to the industry. Intriguingly, Ritwik Kaikini – the progeny of the renowned author and lyricist Jayant Kaikini – debuts as a music composer with the film.
Defying expectations, Kelvadi clarifies that despite its title suggesting conflagration, “Kenda” steers clear of on-screen violence. He elaborates on the significance of a director’s vision in crafting a film and the potency of the medium in influencing audiences. According to him, depicting machismo and violence with conscientiousness is crucial; the cinema can portray masculinity without perennially resorting to aggression.
Kelvadi contemplates the future of cinema – a domain of potentialities combining literature, art, and sundry disciplines. As “Kenda” comes to fruition, the director aspires to channel his transnational experiences into a Kannada web-series. His canvas of memories from both India and the United States brims with stories yet to be encapsulated in digital frames.
“Kenda” waits in the wings, bearing Sahadev Kelvadi’s unique narrative and visual style. It promises to contribute a poignant voice to the landscape of Indian cinema, enkindling conversation and perhaps, igniting the embers within its audience.
