According to Sourabh Shukla’s bio, he is “a self-taught filmmaker who made a drastic shift in his career from being an engineer at an MNC to pursuing his passion for filmmaking.” However, given the number of engineers-turned-filmmakers in India, studying engineering, it seems, is almost a rite of passage for aspiring directors. So, it is less of a “drastic shift” and more of a well-tread path in the contemporary Indian film industry.
In recent years, hundreds of engineers armed with a DSLR plunge into the competitive world of filmmaking, eager to bask in the limelight. But the journey to becoming a successful filmmaker is fraught with challenges due to the highly competitive nature of the industry. Success often hinges on a mix of luck, talent, skill, and perseverance. While luck and talent might be beyond an individual’s control, skills and perseverance can be tirelessly cultivated. Sourabh Shukla stands as a testament to this, having taught himself the intricacies of filmmaking for almost two decades. The recognition he garnered at various film festivals for his Kannada feature, “1888,” including the Best Director Award at the Onyko Film Awards 2023 in Ukraine and the Outstanding Achievement Award for Best Debut Filmmaker at the World Film Carnival 2023 in Singapore, validates his determination and hard work.
“1888,” a 115-minute film, zeroes in on the tumultuous period of India’s 2016 demonetisation. The film is a tense thriller, following three diverse characters embroiled in a high-stakes chase for a bag of cash. With a former actress-turned-politician, an LIC agent, and an anonymous individual each pursuing the money for their own reasons, the plot weaves a gripping narrative. The film’s title is inspired by a pivotal car license plate number that is central to the story’s development. Featuring a cast that includes Neethu Shetty, known for her roles in prominent Malayalam and Kannada films like “Photograph” opposite Mohanlal and “Gaalipata” alongside Ganesh and Ananth Nag, “1888” brings a strong ensemble into its fold.
“We started working on the film in 2017, soon after demonetisation. Our goal was to explore its impact on different segments of society. We conducted thorough research, including interviews with undercover cops and IB agents,” says Sourabh. “We faced several setbacks, including deleted footage that required reshoots. The entire process, including editing, festival submissions, and marketing efforts, spanned four to five years.”
The film’s journey from concept to recognition is notable.
. Recently, Amazon Prime and Apple TV picked up “1888,” and it is also available on pay-per-view services like Movie Saints and the free streaming platform VDOJar. This multi-platform screening allows for broader audience reach, a critical aspect in the digitised but crowded content market.
Sourabh reflects candidly on the film’s arduous path. While the numerous awards and accolades at various film festivals pleasantly surprised him, the difficulties in securing a broader audience through major OTT platforms were equally frustrating. “When we made the film, our intention wasn’t to create a typical art-house movie. We wanted to experiment within the mainstream framework and release it theatrically,” he remarks. However, the pandemic and subsequent decline in theater attendance forced a strategic pivot towards film festival circuits. Despite critical success, a deal with a large OTT platform did not materialize as expected.
Sourabh cites several hurdles indie filmmakers face, particularly those working with regional languages like Kannada. “OTT platforms consider numerous factors like language, star cast, marketing, and genre,” he explains. “As an independent filmmaker, I hadn’t anticipated these challenges. Kannada films face extra barriers in gaining traction. There are many factors to consider when making a film, especially in today’s rapidly evolving market,” he adds.
Despite the hurdles, Sourabh’s passion for filmmaking remains undiminished. However, he acknowledges the significant changes that have reshaped the industry, especially post-COVID. The rise of streaming platforms and the dominance of social media have drastically altered content consumption patterns. With the explosion of short-format content like Reels and Shorts, attention spans have dwindled, questioning the future of traditional feature films.
“These changes raise pertinent questions for the future of feature filmmaking. Are people still invested in watching longer narratives? Would audiences come to theaters to watch a classic epic like ‘Ben-Hur’ if it were released today? How can we create films that speak to today’s fragmented, fast-consumption audience?” he asks, echoing a broader concern shared by many indie filmmakers who continue to navigate these uncertain times.
Published – October 01, 2024 02:51 pm IST
The Hindu MetroPlus
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