National Award-winning filmmaker Rima Das brings two compelling stories to the screen, staying true to her signature style of authenticity and resilience. In the anthology My Melbourne, she helms Emma, a poignant tale of a deaf dancer battling vision loss while holding on to her passion. With an authentic cast, she challenges stereotypes around the portrayal of disability in cinema. Meanwhile, she is gearing up for the much-anticipated release of Village Rockstars 2 this year. In this candid conversation with The Movie Mail, Rima reflects on storytelling, representation, and her journey as a filmmaker.
Edited excerpts:
In the anthology My Melbourne, you have a short film titled Emma. Tell us a little more about it.
A. The story revolves around a young dancer named Emma, played by Ryanna Skye Lawson, who is deaf and gradually losing her vision due to an illness. Despite her condition, she has been passionate about dance since childhood and has achieved significant milestones as an artist. However, she has always faced obstacles due to her disability, even within the dance community, where she was often treated differently. Now, as she begins to lose her vision, she develops a deep fear of losing herself as an artist.
Interestingly, her mother remains a constant pillar of support, encouraging her to dream big and never give up on dance. The film captures both an internal and external journey—how she overcomes her physical limitations and inner conflicts to find liberation through dance and ultimately triumph.
It’s remarkable how Emma portrays the protagonist with dignity and grace, steering clear of the ‘bechara‘ (pitiful) stereotype often seen in films and reality, especially when depicting disabled characters.
A. That’s exactly how I believe every individual should be treated in real life. Only then can we build a truly equal society. The world isn’t short of people who are pitied, but when I choose to tell a story, I want to depict my character with the same dignity as anyone else. If I can’t treat my characters with grace, love, and respect in the world I create on screen, how can I even begin to manifest a better reality?
Emma is a dancer—her deafness does not take away the natural elegance of her movements. Moreover, we ensured authentic casting in the film. The lead actress, Ryanna Skye Lawson, her friends, and even the young girl who plays little Emma all come from the disabled community. If they don’t perceive themselves as weak or different, why should I portray them that way? Of course, they have their struggles, and the story weaves around those challenges, but they are not objects of pity—they are equals.
Was it challenging to direct artists with disabilities?
A. I wouldn’t call it a challenge—rather, a different experience. Yes, they may take a little longer to process instructions than you or me, but they bring something truly beautiful to the table. Emma, for instance, is a stunning dancer. I played to her strengths—many emotional scenes were choreographed as dance sequences, allowing her to express internal conflicts through movement rather than conventional acting.
The goal was to keep it real while also inspiring audiences. That said, working with disabled artists requires a heightened level of emotional sensitivity on set. You can’t push them the way you might push a trained actor to extract a performance. It’s about creating a safe space for them to shine.
In one of our conversations back in 2019, you spoke about how the global audience viewed Assam and the North-East — mostly as a backward region with forests and little awareness of its rich cultural heritage. Has that changed over time?
A. Are you asking if my anger has changed, or if global perceptions have shifted?
Both.
A. I don’t get angry or upset anymore because my perspective has evolved. With time—and maybe with age (laughs)—I’ve grown wiser.
Tell me more.
A. We live in a digital era where we no longer have to rely on others to tell our stories. Whether it’s our folk music, rich textile history, or cultural traditions, we can showcase it all on social media, and the right audience will find it. Digital platforms have empowered us, making it our responsibility to represent our communities accurately.
I no longer get upset if a random person is unaware of Assam. There are so many places and cultures I myself don’t know about—does that make me any less of a person? However, when institutions that are supposed to promote diverse Indian communities display ignorance, it does sting. But instead of dwelling on it, I choose to take action. I make sure to talk about my roots whenever I get a platform, and I wear attire that represents my heritage—these small actions make a huge difference.
Is that why you always wear Mekhla Chador or sarees at international events and film festivals?
A. Absolutely. Whenever I have a big day, I want to feel confident, and nothing makes me feel more comfortable than a Mekhla. I’ve been wearing it since childhood—it’s lightweight, elegant, and a symbol of my state’s pride.
Also, let me be honest—I came to Mumbai to become an actress. I love dressing up, wearing makeup, putting on a bindi, and draping a saree. This is just my way of indulging in vanity! (laughs)
So far, you’ve mostly worked with non-actors. Would you like to collaborate with professional actors?
A. Absolutely! In my previous films, the stories demanded authentic casting, and I was experimenting with storytelling, which is why I worked with non-actors. However, the stories I am working on now require the depth and efficiency of trained actors.
With non-actors, there are emotional and technical limitations — I can only push them so far. I experienced this while working with Bhanita in Village Rockstars 2. Recently, I worked with Shahana Goswami in an anthology, and professional actors bring an entirely different range of emotions. That’s something I want in my films moving forward. So yes, I will continue working with both non-actors and trained actors, depending on what the story demands.
It’s interesting that in My Melbourne, you are the only female filmmaker among three male directors. Do you think female filmmakers face more challenges, particularly with budgets and creative freedom?
A. If you’re a woman, you will inevitably face more challenges and have to prove yourself more in a male-dominated industry. We experience this in our homes, where we’re often told what we can or cannot do simply because we’re girls.
But when it comes to filmmaking, I’ve personally had a positive experience. I am very practical—I can work as a one-woman crew because I’ve learned to write, shoot, edit, and handle pre and post-production myself. It took time, but I mastered it.
Fortunately, films like Village Rockstars and Bulbul Can Sing won National Awards and gained international recognition at TIFF, Berlinale, and Busan Film Festival. I was quietly working hard for years, and now that success has come, I have the creative freedom to tell stories my way.
If I had relied on my parents’ support to make a film, they would have had every right to question my choices. But since I took the risk myself, no one questioned me. The path is never easy for a woman, but the real question is — Are you willing to take the challenge? If yes, then go for it. It will take time, but you’ll get there.
And when can we expect Village Rockstars 2?
A. This one is particularly special. It’s emotionally intense and, as a director, one of my most challenging films. I’m excited to see how audiences react to it. Since Bihu is in April, I’ll be traveling home and preparing for its release, likely in June. We’ll announce the exact release date at the right time (signs off).
