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 this part of the country, studying engineering seems like a prerequisite for a filmmaker. So, hardly “a drastic shift.”
Hundreds of engineers with a DSLR in hand jump into the bandwagon of wanting to be a filmmaker, to be in the limelight. It is not easy to be a filmmaker because the industry is highly competitive, and success often requires a combination of luck, talent, skill, and perseverance. While the first two may be factors beyond one’s control, skills and perseverance can be cultivated and honed. Sourabh, who has been teaching himself filmmaking for almost two decades, has done precisely this. The recognition he has received in film festivals (Best Director Award at the Onyko Film Awards 2023 in Ukraine; the Outstanding Achievement Award for Best Debut Filmmaker at the World Film Carnival 2023 in Singapore; and more) for his Kannada feature, 1888, are a vindication of his efforts.
The 115-minute film, set during India’s 2016 demonetisation period, is a gripping thriller that follows a trio of characters caught in a high-stakes chase for a bag of cash. The plot revolves around a former actress-turned-politician, an LIC agent, and an anonymous individual, each with their own reasons for seeking the cash. The film’s title is based on a car’s license plate, which plays a pivotal role in the story. The cast includes Neethu Shetty, who has previously appeared in notable Malayalam and Kannada films, including Photograph opposite Mohanlal and Gaalipata alongside Ganesh and Ananth Nag.
“We started working on the film in 2017, shortly after demonetisation. We wanted to explore its impact on various aspects of society. We conducted extensive research, including interviews with undercover cops and IB agents,” says Sourabh. “We faced setbacks like footage deletion and had to reshoot portions of the film. The entire process took around four to five years, including editing, festival submissions, and marketing efforts.”
Amazon Prime and Apple TV recently picked up 1888. It is also available for streaming on pay-per-view services like Movie Saints and the free streaming platform VDOJar.
Sourabh has mixed emotions regarding the film’s journey. While he was pleasantly surprised by the awards and recognition it received at film festivals, he was equally frustrated by the challenges of securing a wider audience through OTT platforms. “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 says.
. However, due to the pandemic and declining theatre attendance, he and his team decided to send it to festivals. They had hoped the film’s critical success would lead to a deal with a major OTT platform, but that did not materialise.
“OTT platforms consider language, star cast, marketing, and genre,” he explains. “As an independent filmmaker, I hadn’t anticipated these challenges. Kannada films, in particular, faced additional hurdles in gaining traction. I learned there are many other factors to consider when making a film, especially in today’s market,” he says.
Despite these hurdles, he remains passionate about filmmaking and finds it rewarding. However, filmmaking has undergone significant changes, especially in the post-COVID era. The rise of streaming platforms and social media has transformed how people consume content. Attention spans have shortened, and an overwhelming abundance of short content, such as Reels and Shorts, is available.
“These changes have raised questions about the future of feature films. Are people still interested in watching longer films? I wonder if people will come to the theatres to watch Ben-Hur if it is released today. How can we create films that resonate with today’s audiences?” he asks, on behalf of indie filmmakers who grapple with their uncertain futures.
Adding to the ongoing challenges, he emphasizes the financial struggles that independent filmmakers often grapple with. Funding and securing investments are persistent obstacles, further exacerbated by the pandemic’s economic impact. “Financial constraints can limit creative freedom. Independent filmmakers usually have to do a lot with very little, and it’s tough when you have to balance passion with practicality,” he says.
Sourabh’s journey underscores the resilience required in the world of independent filmmaking. His story is not just about the success of 1888 but also about the dedication and perseverance needed to break into a highly competitive industry. As streaming platforms continue to gain influence, the landscape of filmmaking is continually evolving, offering both new opportunities and challenges for indie filmmakers like Sourabh.
In conclusion, ‘1888’ not only captures the socio-economic upheavals brought about by demonetisation but also highlights the indomitable spirit of an engineer-turned-filmmaker navigating through the unpredictable terrain of the film industry. The blend of a gripping narrative with a backdrop of contemporary real-life issues makes ‘1888’ a noteworthy addition to the Kannada indie film landscape.
