'Global politics are in a pretty rough shape and always have been. But the speed and extent with which we receive the insanity surrounding us makes it feel more present and immediate.'
Deepa Mehta received the Cinema Honorary Award, which is the Singapore International Film Festival's highest honour for filmmaking.
It's a big moment for the director of films like Fire, Water and 1947: Earth, as she tells Subhash K Jha, "This honour from the Singapore International Film Festival moved me hugely because it was the first time a woman was given this award in 36 years."
At this juncture in your career, what does an honour of this kind mean to you?
This honour from the Singapore International Film Festival moved me hugely because it was the first time a woman was given this award in 36 years. To break this continuum felt good.
Do you feel you still have more to say through your cinema?
Sometimes I feel I do, and at times, nothing at all.
With global politics being what it is, do you feel the need to address global issues through your cinema?
Global politics are in a pretty rough shape and always have been. But the speed and extent with which we receive the insanity surrounding us makes it feel more present and immediate.
To address these through cinema seems lasting and therefore more effective than through an Instagram Reel.
What is your take on America and Donald Trump's bullying tactics?
Trump is one of the most dangerous men in the world today, largely because he is an unpredictable authoritarian. But he isn't doing anything that has not been done throughout the ages with imperialism. It's his overt way of causing chaos that makes him so frightening.
The Indian government once stopped your film Water in Varanasi. Would you say cinematic voices are getting progressively more stifled over the years?
Cinema getting stifled depends a lot on the politics of the country it comes from. This year, the array of superb Palestinian films gave me huge hope of the power of cinema.
Among your films, which are the ones you cherish the most?
It's tough to look at my films with dispassion. Each of them is special in its own way. I guess 1947: Earth feels more relevant than others because, despite it being set in 1947, it speaks to the current heartbreaking genocide in Gaza.
Which films did you enjoy recently?
Neeraj Ghaywan's Homebound, which I saw at TIFF (Toronto International Film Festival) was brilliant. As was The Voice of Hind Rajab. Also, don't miss Jafar Panahi's It Was Just An Accident.
On another note, I saw this superb Indian film called Pyre directed by Vinod Kapri a few months ago. It continues to haunt me with its poignancy. Of course, Onir's We Are Faheem And Karun is a landmark film.
What are you working on now?
A film called Forgiveness, based on a true story about the Japanese internment camps in Canada, where Canadian-Japanese citizens were placed during the Second War.
What we do to our own citizens when their 'look', 'garb' or religion differs from the populist ruling government is despicable and heartbreaking.
What is that one dream project you long to make?
A film called Troilokya about a 19th century female serial killer in Calcutta. I really it becomes a reality.
Finally, Deepa, as a socio-politically filmmaker, what do you think of the increase in pro-government films which show Pakistan as the enemy?
I haven't seen many of them. But the ones I have leave a lot to be desired.
Photographs curated by Satish Bodas/Rediff
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