Najma (Mirnaa), a young Muslim widow is alone at home, observing Iddah or Iddat – the period of solitude – following the death of her husband when Surya (Kalaiyarasan), an injured man who takes part in protests for money, knocks on her door. He’s being chased by someone and desperately seeks refuge in her home. The widow, who had been married very briefly to a lovely understanding man, is a trained nurse and resists helping, but eventually does. She dresses his wound and gives him painkillers.
For the next hour on screen, the two – a girl who lost love even as she was discovering it and a cynical man who has seen his sex worker mother plod through life – engage in a dialogue on religion and cultural practices that occasionally turns into a debate. The man apologises for overstepping and asking questions, the girl bristles because she does not want anyone’s sympathy. And for an audience used to conversations with the power equation tilted to one side, the film is refreshing, because two individuals bare their vulnerabilities to each other, snap at each other, but eventually find a common ground.
Sarjun KM’s independent movie Burqa was screened at the New York India International Film Festival and the recently concluded RIFFA, which was held online. It is set to travel to many others too. What strikes one most about the film is how it effortlessly takes on issues that others hesitate to take up, but with a lightness of touch. The casual manner of speaking is rooted in years of practice and questioning. Finally, when Najma makes tea and smiles, you smile too, for you’ve been privy to a dignified discourse, something that is not commonplace in today’s times.
Here are some excerpts from TNM’s interview with director Sarjun:
Beginning with your shorts Lakshmi and Maa, your films are known for the feminine point of view. Where does that come from?
I think that goes back to my childhood and the way I was raised. My mother is a teacher, a working woman, and I learnt how to ‘see’ women from her. Then, there are the books one reads, the films one watches, and over time, you develop a certain sensibility. And, all this constantly evolves. I might not hold the same opinion about a topic that I held when I was 20. So, all these inputs from real life and popular culture sit within, get honed with time and emerge as my individual and cinematic voice.
.jpg?w=640&auto=format%2Ccompress)
Director Sarjun KM
One’s influences also matter. Satyajit Ray’s Charulata speaks to me, and I think that’s because of the things I’m drawn to. It might not speak to some, and that’s fine too.
What is the genesis of Burqa?
It began as the story of a woman who gets caught in a tricky situation. I also wanted to bring in the angle of a religious custom. I’m an atheist born and brought up in a Muslim family. I came up with the idea for the film and pitched it to Anasuya Vasudevan, who eventually wrote the screenplay. She did a lot of research about the custom before writing the screenplay. I did not have to add much to it. I then began writing the dialogues, from faint memories of lived experiences. I recall relatives and cousins speaking about this.
We did not think about how we are going to release this and what controversies might be generated. We just wanted to stay true to the genre and give the story what it needed, nothing more, nothing less. We hoped it would reach its destination. We have kept the debate dignified and we discuss what religion says versus its interpretation. The main religious book of most religions is written in a language not all its practitioners understand. So, the scene is ripe for misinterpretation. Life has changed in the thousands of years since the original rules were laid down. Things become obsolete. We should take cognisance of that.
Actor Mirnaa has been a revelation. What about her convinced you she can be Najma?
I wanted Najma to be played by someone who will get the audience to feel for her, even though she’s not exactly very vulnerable. It is not necessary for everyone to know the background of Iddah/Iddat, but I wanted an actor who could help the audience cross the bridge and travel with Najma. And, more importantly, I wanted someone who is so good she can handle close-ups.
Mirnaa knew it was a small budget film. During the audition, we tried shooting with various lenses and she looked sharp. She was just perfect for the part.
How did you decide on the festival route for the film?
While making the film, we kept things tight. I knew this was not a film that I can expect to become a commercial hit. I looked at the festival route and then OTT. But this decision helped the film because it allowed me to make the film as I visualised it – between two equals. Both Najma and Surya are their own people, with a certain agency.
How comfortable was your cast with the storyline?
Kalai is a good friend and I wanted him to do the role. He was game for it and was willing to take the risk. He was working on Pa Ranjith’s Sarpetta then and agreed to come on board for this much smaller film.
Mirnaa completely believed in the script, and that is why you see the performance you do.
As a creator, how happy are you with Burqa?
I always try to strike a balance between mainstream films and the other kind of cinema I like. While that balance is difficult, this film made me smile. It fed my creative hunger. That said, I will keep switching among genres. I will do a Navarasa, I will do a Blood Money (Zee5), and one day I hope I’ll get to make the tasteful commercial film I set out to do. One day, I will get the money, time and space to do the kind of work I want to, and then I hope to carve a path for others to follow too.
I have to make that one film that audiences like and then come back and do something on these lines. That is the route that will work.
Subha J Rao is an entertainment journalist covering Tamil and Kannada cinema and is based out of Mangaluru, Karnataka.