Siddharth Chauhan, a visionary filmmaker based in Shimla, Himachal Pradesh, has carved a niche for himself in the world of independent filmmaking.
His journey as a filmmaker was not just a dream come true but was driven by his immense passion for cinema. His career took a momentous turn when he released his first short film “Pashi,” getting him international recognition. The short film became a platform for his distinctive storytelling guile.
“Pashi” was inspired by the concept of trapping birds – a local practice in Chauhan’s childhood village. The film explored deeper metaphors of love and companionship. This short film not only received accolades but also earned a spot at the Oscar-qualifying Rhode Island Film Festival, solidifying Chauhan’s presence on the global film stage.
SSZee Media spoke with Chauhan at the Dharamshala International Film Festival (DIFF) 2023, where his debut feature film “Amar Colony”, was showcased.
“Amar Colony” is an extension of one of Chauhan’s earlier works – “Papa”. His unique process of writing – fusing personal experiences into imaginative storytelling – led to the creation of “Papa”, which found its inspiration from a parrot that he observed from outside of his Bombay flat in 2014.
Later, the desire to delve deeper into the story and explore additional characters evolved into the narrative of “Amar Colony”, which is set in a fictitious world within a British era building in Shimla. While Chauhan’s stories may be imaginary, the emotions embedded in them stem from his own experiences and feelings.
While talking about the scenario of documentary filmmaking in India, Chauhan acknowledged the challenges independent filmmakers face in terms of production, marketing, and distribution. He emphasized on the limited space for such films outside the festival circuit and the struggle to reach a broader audience, particularly when commercial success becomes a predominant criterion.
His commitment to the craft extends beyond personal success, as seen in his efforts to inspire and support fellow filmmakers through his production house, Secret Corridors Pictures. Chauhan, who made a name for himself through his own films, now shifts his focus to supporting fellow filmmakers and cultivate a collaborative film culture.
While his dream of producing films for others is still evolving, Chauhan finds joy in budding filmmakers and offers a helping hand to those navigating the intricate landscape of independent cinema.
He also aims at bringing a positive change in society’s approach to filmmaking as a passion as well as profession. He always tries to screen his films for the local audiences in Shimla to break stereotypes surrounding the lack of respect for the art form in society. He considers these screenings as a means of fostering communication and understanding.
Interestingly, Chauhan is still resides Shimla. The idea of moving to Mumbai has never appealed to him. He finds comfort and sense of community in his city, and cherishes the personal touch and familiarity of a close-knit community. Even though he remains uncertain about the specifics but is determined to keep the spirit of wanting more and creating alive, regardless of the geographical location or the form that “more” may take.
Chauhan sees filmmaking as a conscious choice akin to a marriage. He believes in the necessity of embracing the journey, acknowledging the difficulties, and finding satisfaction in the creative process, even if financial success remains elusive.
He is the first independent filmmaker from Himachal Pradesh, who has been consistently showcasing locally produced films on the international platforms.
Here are few excerpts from his full interview:
Q. Tell us about your film “Amar Colony”, which was screened at Dharamshala International Film Festival. Share your experience.
A. This is my first official screening, imagine and I’ve been coming to DIFF and watching films since 2016. So, in all of these years, I’ve come here as a film fellow, my shorts have screened here “Pashi” and “Papa”. So, it was like a dream for me to come here with my debut feature film, and get it screened here. Also, because this is in Himachal, and the audience is so enthusiastic. So, I was always looking forward to this and yes it was like a dream come true.
Q. How did the story of “Amar Colony” come to your mind?
A. When I was working for a production house back in 2014 in Bombay, I used to see a parrot sit outside of my flat. There was an in-house writing competition going on. That’s when I wrote the first draft of Papa. And then in 2015, I made the short film, which premiered at the IFFK, Kerala, and that’s where it won the Best Film Award. I was on top of the world. When I came back to Shimla, I had an access to a building which was from the British era. That’s when an idea popped in my head to use this space and tell a bigger story. The story of Papa was something which I felt could expand this into something bigger. So, that was the idea behind writing Amar colony.
Q. When we talk about documentary filmmaking or short filmmaking, mostly the first story comes out of filmmaker’s own journey/experience. But your film is a fiction, tell us about your filmmaking style?
A. I feel that the self and the person is always there in your expression—whether it is photography, painting, dance, music, or filmmaking, you can never separate the self from there. So, a lot of my emotions went into it. I found that their expressions are the only way to tell a story. So, yeah, the story may be fictitious, the characters may be all imaginary, but what they’re going through is something very personal. And that’s the part of me that I’ve put into the films.
Q. What is your inspiration for writing stories?
A. I think, each filmmaker is trying to find an artist, like a muse and that inspiration is different for each filmmaker. For me, it is maybe some emotions, which I want to bring on screen and also, a lot of disappointment.
When I consumed Indian cinema, at least until a couple of years ago, I was very disappointed. I was also watching world cinema. I had access to films which other filmmakers were making, whether it was Turkish filmmakers, German filmmakers, or French filmmakers. I noticed that they were finding their personal expression in their films and those films were very experimental in terms of form, structure, the characters, the stories, the space they were set in. These kinds of things were absent in Indian cinema. So, that is what inspired me. I think I’m still discovering. I’m not sure about what lies ahead, but once I find my inspiration—which mostly come from some kind of an emotion – then the rest will follow.
Q. Take us through your process of finding stories?
A. So, sometimes it will be a person I’ve met, or a character I’ve observed, but rarely a person I know very well. I cannot write about a character if I know them well. But mostly, its people who I barely know, and they fascinate me. Sometimes, it’s also the desire to show certain things, which I know, I would want to see, but do not see anywhere. So, I kind of use the medium of cinema to create those experiences on screen, which I would have – you can say it’s a voyeuristic mindset. Since there are things that I want to see but I can’t, I create them and show it to the world.
Q. Do you feel attached to your character?
A. Not in the process of shooting but when there are actors who portray those characters, I relate to them because they bring my character to life. I get attached to people who I’m working with like actors, crew members, everybody. It is a very pure, spiritual and an emotional bond I develop with my actors and with my direction team. But otherwise, I’m not attached to any of my stories or films.
Q. How did filmmaking happen to you?
A. I never knew who I wanted to be and what I wanted to do with my life. But I had varied interests, like I found colors very interesting, I found architecture very interesting. I had interest in design, in music and performing arts. Filmmaking was just an umbrella term for me, where I saw that all of these things came together, and become one. Also, I like to do things independently, so it gave me that independent hand to try all of these things through small parts of filmmaking, like writing, telling stories, performing art, design construction—that’s how I arrived at filmmaking.
Q. Tell us about the film Pashi? It got you a lot of recognition on international level.
A. Just before Pashi, I had made Papa, which encouraged me to make more firms. But I was disappointed. I still remember I wanted to give up filmmaking. But I had the story of Pashi already written. So, I told myself, okay, let me just make this one last film. If it doesn’t do well, I’ll give up filmmaking – this is how Pashi was made. Somehow, it did really well. It was selected at the Oscar qualifying Rhode Island Film Festival, and it was the only Indian film in the competition and it received fabulous response. That changed the game for me and I convinced myself that I wanted to go ahead with this.
Pashi’s story was inspired from my childhood. It is a pahadi word, which means a trap. During my school-going time, we would visit my native village during winter vacations. I had a few friends there and they introduced me to this concept of pasha —all the boys would go into the jungle, and lay traps (made of threads) for birds. Sometimes, we would lucky, sometimes, we won’t. This idea of trapping birds disturbed me as a child, because I felt I was creating bad karma by taking lives. It stayed with me as a distressing experience, because I remember having killed a few birds like that. When I grew up, I thought that I could use the word and this concept of pashi, which was so local, to tell a story, which was more metaphoric. So, Pashi was about this young boy who learns this art of trapping birds and uses the same art to find love and companionship in his life.
Q. You have collaborated with Hollywood writer for one of your film (Catch the light), how was the experience?
A. It was beautiful. Actually, the good thing about art or collaborating for any art form is that you just suspend all your differences. It is like two people are able to totally unite and focus on one goal, which is to make a good film. I had deadline to make a short film and none of my story ideas were working. That’s when I started looking for a writer and I found Melissa L. White. She had written a story about these two girls, and how they fall in love – one of them is physically challenged. I thought it was a beautiful story and she has composed a song on it already, which we have used in the film. I took that script and we discussed about possible changes to give it an Indian context, with its backdrop being Shimla. And yeah, the rest just followed, it was a creatively satisfying process.
Q. What do you think is the scenario of documentary filmmaking in India from the perspective of production, marketing and distribution? How do you feel that independent cinema and message-oriented films are still struggling to go out of film festivals and panel discussions in India to reach a larger audience?
A. The scenario is very disappointing because the only space where independent cinema could find screens is often festivals. Outside of that, rarely a film will make it to an OTT platform. Most of the OTT algorithms are dictated by market forces and it all boils down to the same thing. So, there’s actually not much space for independent voices. The journey is so difficult, raising funds means being able to complete your offer, make it and then finding festivals, the submission fee, which goes into it this whole and the kind of time and commitment it takes—like I have just made my debut feature film right now and it has taken me more than three years.
Actually, if you want to cater to the masses, then you have to tell different stories, there’s a different language for it, there’s a different algorithm that works. Either you speak that language to achieve that kind of commercial success but if you want to take this path (independent filmmaking), then you have to be aware of its consequences. Creative satisfaction is the reason why most people are making such films because it doesn’t pay you well, it doesn’t give you any monetary returns—I don’t see any other reason, why people would be making films other than the love for it.
Q. Do you think independent/documentary filmmaking is a sustainable profession in terms of making money?
A. There is this one step I feel which every independent artist has to take, and that is that you have to move forward from just loving what you want to like to do. It’s like being in a relationship, first you start dating then a time comes where two people decide to get married. There comes a point in your life and in your career trajectory where you decide that, okay, I’m getting married to filmmaking. And once you’re married then all the hurdles are kind of secondary. You’re not fooling yourself into it, it’s a conscious choice. But once you take that conscious choice, then there is no looking back.
Q. What are the challenges you faced when you started?
A. The biggest was doubting myself. I come from a small town, when I talk about it, there is no culture of cinema. Not many want to support those kinds of things. For traditional family, filmmaking is like getting married out of your caste. Parents are never happy and it’s always a concern for them. But I had some good friends. So, that’s how you start. Yes, difficulties are endless.
Now, that I have got the recognition, lots of press coverage and awards, it kind of make them (family) happy, even if they’re not happy. There are so many people who would want to be where I am today. If I can be an inspiration to them, then it’s good. Since my people don’t travel to festivals, but whenever I do a local screening for my film—which I always make it a point- in Shimla, they do come, but not my father. He’s not interested in my work at all. But my mother always watches my work.
Q. Why do you screen your films in your city for people? Why do you think that is necessary?
A. I feel that I’ve received so much from them. I’ve made all my films because of their support. The community is important and I owe it to them. It’s like giving back in a way that they have supported me to create something which they had no idea of. I want them to look at what it sounds like. I’m able to share that joy with everyone and that ownership as well, so they all feel like that we have contributed to this. I think it’s also opening a channel of communication with the community where you live. I mean, there is no respect for art in our society and it won’t be wrong to say that we are a Philistine society, which like, literally almost looks down upon such things. Ultimately, everyone judges you from the kind of money you make, so as long as you’re not a millionaire, or you become a commercially successful director, they all think this person is crazy and wasting his time.
Q. How often do friends and family ask you about your movies being played at theatres? A. All the time. They are coming from a place of ignorance and innocence. But just to make them aware, I asked them that have you ever seen a film in theatre with no actors, with no recognized faces? That’s the reality of India—it has never happen. I mean, it’ll happen soon. I hope so in a few years.
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