In a story that reaffirms the adage “it’s never too late to chase a dream,” Dinesh Shenoy, at the age of 54, embarked on a journey that would lead him to win prestigious accolades in the world of cinema. Shenoy’s extraordinary tale reached a pinnacle this year as his Kannada short film “Madhyantara” secured two National Awards, with Shenoy himself being honored as the Best Debut Director. Alongside him, the veteran editor Suresh Urs clinched the Best Editor award, rounding off an extraordinary achievement for the duo.
“Madhyantara” is not just a film; it is a reflection of Shenoy’s winding path towards filmmaking—a journey marked by passion, persistence, and a love for the art form. The short film is centered around two ardent cinephiles who hold onto their cinematic aspirations while working odd jobs. This narrative is strikingly akin to Shenoy’s own unpredictable venture into film.
Originating from Bantwal, a small town situated 30 kilometers from Mangaluru in Karnataka, Shenoy’s childhood was imbued with the rich tapestry of Kannada cinema. Despite being captivated by photography, his initial foray into adulthood was rerouted by familial obligations, compelling him to manage a family-owned air conditioning business. In retrospect, Shenoy admits, “I had no business acumen. It wasn’t my cup of tea.”
A pivotal shift occurred seven years later when Shenoy moved to Delhi. Fueled by a determination to pursue his passion, he mustered the courage to inform his father of his desire to follow a new path. This decision led him to Noida, where he enrolled in an intensive cinematography course. He was adamant about starting from scratch, working first as a light boy and focus puller before eventually establishing himself as an independent cinematographer over several subsequent years.
The commercial sector offered another layer to his learning curve. By creating compelling video content that transcended standard advertising, Shenoy mastered the art of storytelling in concise formats. Despite his continued engagement with corporate projects, Shenoy’s love for filmmaking persisted beneath the surface, driving him towards his aspirations.
Shenoy’s break into the movie industry was cemented when he took on the role of line producer for a Hindi film being shot in Delhi.
. This role, which entailed ensuring seamless filming processes, brought him face-to-face with influential figures like Ashutosh Gowariker. It was during his time on productions such as “Swades” (2004) and “Jodha Akbar” (2008) that Shenoy gleaned invaluable industry insights. Learning about structured assistant director operations post-Lagaan was one of many lessons he successfully integrated into his directorial endeavors.
Wes Anderson’s “The Darjeeling Limited” further broadened Shenoy’s horizons. As a production assistant, Shenoy was taken by Anderson’s childlike wonder towards Indian culture and, notably, the quintessential Ambassador car. “I can never forget his fascination,” recalls Shenoy, underscoring the memorable intersections of cross-cultural experiences.
The global disruption caused by the COVID-19 pandemic gave Shenoy the unanticipated gift of time—a rare opportunity to delve deep into interviews and retrospectives featuring veteran Kannada filmmakers. Among these, a narrative by producer RF Manikchand about his film-watching exploits as a youth sparked the creative genesis of “Madhyantara.” Inspired, Shenoy crafted a film that weaves cultural nostalgia with an engaging storyline involving two friends, Veeresh and Ajay Neenasam, who navigate their love for cinema against the backdrop of their humble lives as waiters.
“Madhyantara” stands as an homage to the Kannada cinematic landscape of the 1980s. Shenoy’s meticulous research is evident as the film revisits monumental moments and figures such as Dr. Rajkumar’s iconic work in “Hosa Belaku.” Collaborating with esteemed art director Shashidhar Adapa and editor Suresh Urs added layers of authenticity and richness, helping Shenoy authentically recreate an era long past.
Utilizing celluloid for filming, a choice lauded by editor Urs, who nostalgically appreciated the return to his own roots in traditional editing techniques, Shenoy aimed to capture the aesthetics of 80s cinema with deliberate simplicity in its visual narrative. This creative direction was expertly executed by cinematographer Sunil Borkar, resulting in a film that eschews modern gimmicks in favor of classic elegance.
“Madhyantara” was premiered at the International Film Festival of India (IFFI) in Goa, later competing at the National Film Awards. For Shenoy, this short film serves as a compelling proof-of-concept, showcasing his vision and skills in anticipation of his aspiration to transition into feature-length storytelling. By allowing producers and audiences alike to witness firsthand his team’s capabilities, Shenoy lays a solid groundwork for an illustrious future in filmmaking.
