The narrative of Sikkim director Tribeny Rai’s critically acclaimed debut film is just as curious as its title – Shape of Momo. Told through the lens of an ‘insider’, the movie offers a fresh perspective on the region – its people, everyday life and women challenging patriarchal norms in society. With Gaumaya Gurung, Pashupati Rai, Shyamashree Sherpa, Bhanu Maya Rai and Rahul Mukhia in the lead, the 112-minute Sikkimese-Nepali drama was co-written by Kislay and Tribeny.
Earlier in the year, the 112-minute film was selected by the National Film Development Corporation (NFDC) for its Film Bazaar Work-in-Progress (WIP) Lab. It premiered and won awards at the prestigious Busan International Film Festival, followed by screenings at the San Sebastián International Film Festival in Spain, Germany’s FilmFest Hamburg and Singapore International Film Festival. On home turf, Shape of Momo – aDalley Khorsani ProductionsandKathkala Filmspresentation – won accolades at the Kolkata International Film Festival and International Film Festival of India (IFFI) in Goa, among others.
Set in the northeastern part of India, the plot follows Bishnu, who has just returned to her village home in the Himalayas after spending a few years in Delhi as a creative copywriter. Although it’s a house full of women, with her grandmother and mother in charge of everything, and her pregnant elder sister often visiting, Bishnu inadvertently finds herself in the shackles of patriarchy. How these circumstances impact her sense of identity and belonging, while she also goes through a period of disquiet in her potential love life forms the crux of the story.
In an exclusive conversation with The Movie Mail, Tribeny – an alumna of the Satyajit Ray Film and Television Institute (SRFTI) – spoke at length about the making of her first feature film, how the story mirrors her own experiences, its festival runs, portrayal of Northeast India in the mainstream, plight of indie filmmakers in India today, and more. Excerpts:
Q. Shape of Momo portrays Northeast India in a different light. Why do you think that was necessary? Tell us about your personal experiences in it…
A. When I say the film comes from my personal experience, what I mean is that people around me have inspired the characters. Together, my co-writer Kislay and I have structured the screenplay and plot for the film. But yes, the protagonist’s experiences have come from my own.
Speaking of real-life depiction in the narrative, it’s true that marriage is probably not a priority for young women today. But for our generation, ‘settling down’ is still a major factor in life, and the same is portrayed in films – be it mainstream or regional. But if you notice, characters from the hills – whether it’s the protagonist or otherwise – are never as complex or layered, when compared with those from mainland India. Somehow, dignity is always missing in the representation, I feel.
Of course, lately a number of films and OTT shows are focusing on our region. For instance, drug deals in Nagaland form the premise of Amazon Prime Video’s neo-noir crime thriller series Paatal Lok. The other more common themes include the region’s exotic locales and native people practising shamanism. But I have always had a problem with such depictions. Why can’t they have such narratives from the mainland? Why do they have to come all the way to the Northeast to carve out such characters? Whereas, sometimes these characters don’t even feature among the lead cast. Through this film, I just wanted to show that we are the hero of our own stories; we are just as complex as you. So, the next time you try to portray us, please give us equal dignity, because I think that’s very important.
Q. How much of Bishnu is inspired by Tribeny?
A. This film comes from great honesty and I truly mean that. In terms of screenplays, we have often been taught to write for effect. More or less, I think today’s films have become a spectacle, complete with VFX and sound effects, so much so it almost feels like a circus to me. Why do I say that? Because, the kind of cinema I have grown up watching at home and in film school was very different. Those narratives are honest to the subject and human experience. In Shape of Momo, we have tried doing exactly that. We did not move away from the plot just because it would give a certain effect to the film.
Speaking of weaving my own life into the narrative, a lot of the dilemmas and circumstances that Bishnu faces in the film are my own. I am a filmmaker who lives in Sikkim, while most of my friends and acquaintances are either in Delhi or Mumbai. In fact, the village and house you see in the movie are my own. That’s where I live. So, in that sense, Shape of Momo is as autobiographical as it can be! So yes, the hills are beautiful and people prefer to come here to unwind. But even smaller societies have everyday problems to deal with. In big cities, you may not realise when your neighbour passes away. In small villages though, the internet may be slow, but news runs fast. Everybody knows about everything. Like how the mother in the film says, ‘Now, this will be the gossip of the village for one year…’ Thus, to be in a state like Sikkim where the majority of the population prefer government jobs, to be pursuing a career in filmmaking (or any arts, for that matter) is not considered wise or honourable.
Honestly, when I first started writing the story, it read more or less like a complaint letter; about this independent woman who had agency and exposure comes back from the city and now she wants the little village to function at her will. Later when Kislay, who has made films like Aise Hee, came onboard, we realised a very important factor – that until then I was just being critical of the society. For instance, one day when I was casually speaking to our tenants and other villagers, they told me that I unwittingly use a certain tone when I am in conversation with them, as if they are my inferiors. This made me introspect, and I realised that what they are saying is true. And that probably happens because in the cities, people from the Northeast are perceived in a certain way. Most people seem to have an opinion about the way we look, speak and eat.
However, this incident made me a little self-critical, in a positive way though. It also brought in a lot of objectivity to the process of making this film, which is also an advantage of being a local here and writing. Just recently, somebody pointed out that I have criticised my own society in the film. But isn’t that the job of an artist? I believe we are supposed to hold up a mirror to society. A lot of things shown in the movie are based on true events happening in my life. Frankly speaking, it was not easy for me to maintain that objectivity while penning the script, as I was also emotionally involved in all that was unfolding in Bishnu’s life. The pressure she felt from her family and society at large. So yes, Shape of Momo presents a unique ‘insider’ perspective, but I couldn’t have done it without Kislay constantly keeping a tab on the approach and treatment of the narrative. Additionally, we have worked very hard to break all the complexities of the protagonist’s class and privileges.
Q. You mentioned the insider’s perspective, and Shape of Momo does seem to maintain that throughout the narrative. As an independent filmmaker, why do you think it is important to stay true to the story?
A. In terms of independent cinema, currently I am quite overwhelmed, because we are taking the film to different festivals. But what I have understood while travelling with my movie is that there’s also huge pressure in global markets. I am so grateful that I was able to make my debut film the way I wanted it; not everybody is as fortunate. There are several factors that influence filmmaking, especially if you’re working with big actors on large sets. The cost involved is often so huge that there is always some kind of a compromise the creator is compelled to make. Unfortunately, I can also see that our avenues are slowly getting closed.
Even international platforms like the Cannes Film Festival, which is regarded as the ‘Mecca of independent films’ is screening Hollywood blockbusters. It’s heartbreaking to see independent films are made to compete with full-blown mainstream movies. We were already working on strapped budgets, and now we don’t even have a level playing field in these festivals. I am deeply troubled by the shrinking market for independent films. Just recently, there was an uproar over limited theatrical slots given to the Kanu Behl-directed movie Agra.
Hopefully in the future, we’ll be able to create a stronger network and find alternative spaces and platforms where our work can be showcased, and indie filmmakers do not have to fight every single time. That said, I don’t want to say something very promising either at this point. Shape of Momo is my first film, and after the festival run, we are planning theatrical screenings in Sikkim, North Bengal, Assam and Shillong. So, let’s see how that goes. About the rest of the country, I am still quite sceptical, because people today don’t really have the patience for slow cinema. Just recently, I went to watch a Hollywood sci-fi film in the theatres, and the audiences seemed busy on their phones all the time. Imagine, if a movie like that cannot hold their attention, what can be the odds of them finding interest in a film like Shape of Momo. It’s like the span of attention is now limited to an Instagram reel. In such a situation, independent filmmakers like us need to muster a lot of courage just to embark on a project like this.
Q. As an artist, how important is it for you that your work continues to challenge patriarchy?
A. Patriarchy still prevails rootedly in India, and so it’s important that we keep pushing back persistently. Here, I’ll give an example of my own life. In the pursuit of a male child, my mother ended up giving birth to four daughters. Since my childhood, I have always been treated as a second-class citizen at home and outside. Honestly speaking, this makes me feel bitter and infuriated.
After watching the movie, many people have asked why the protagonist is strong-headed yet angry all the time, to whom I want to respond by saying that the anger comes from a place where you are told you’re not good enough, just because you are a girl. That mindset deeply affected me while growing up, so much so that I always tried to compete with my cousins in running and climbing trees, so that my parents were not discriminated against in society. People in Northeast India are commonly considered more open-minded compared to the rest of the country, but who decides what is liberal enough for us?
I live in a house full of women, but I can tell you that you don’t necessarily need a man around for patriarchy to work. It’s so deeply ingrained in our lives that even in the absence of a dominant male figure, we behave as if they are dictating our terms.
Q. Shape of Momo paints life as it is. Why do you think that’s the need of the hour?
A. Many might think that by making a film like this I am trying to show my region in a bad light. But as a filmmaker, all I am trying to do is portray real narratives, and through my craft paint a picture of courage and hope – traits that are symbolic of people here. While growing up, reading books by certain writers helped me navigate whatever problem I was going through at that moment. I hope my films do the same for young men and women.
While growing up, I never watched a mainstream movie that truly portrayed this part of the country. That’s also the reason many of us found it difficult to resonate with these movies. In fact, I have found the works of filmmakers like Apichatpong Weerasethakul and Jia Zhangke more relatable. That said, Shape of Momo is not just a movie that smashes patriarchy and holds up a mirror to society. Irrespective of their gender and age, audiences have told me that they could relate to the film’s protagonist, because I think things can become difficult for any independent or free mind in society at times. I sincerely hope my film helps them navigate such problems.
Q. After premiering in Busan, Shape of Momo was showcased in Spain, Germany and Singapore, apart from screenings in India. What’s your biggest takeaway from these tours?
A. I knew that our film would work in Busan, given our cultural similarities. So, I was not very surprised when after watching the movie, women came and told me that it felt like a retelling of their own story. But I was taken aback to see how it resonated with the European audience as well. What I learnt from this is that when a story is told with deep honesty, it will find its universal resonance. Not necessarily, I intend to send a message through my film, because I don’t think that’s my job. But I would definitely hope that people find the time to reflect and resonate with the narrative. That’s what good films have done to me, and we aspire the same for people after watching Shape of Momo.
