With social change as goal
S. R. ASHOK KUMAR
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Visual medium is the best to tackle social issues, feels Leena Manimekalai.
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Most of my films have been instruments in starting a dialogue and have ultimately brought about the change.
BEHIND THE CAMERA: Leena Manimekalai
Leena Manimekalai has produced and directed short films and documentaries. Her media concern `Kanavuppattarai' is run as a publication, television and a production house.
Her documentary films have won international recognition. She has acted in short films and has to her credit an anthology of poems.
She recently started Thirai, a monthly movie magazine, which she also edits. In a free-wheeling interview, Leena Manimekalai talks about her films, her experience in writing and acting, and her role as a media activist. Excerpts:
With versatile skills, how would you like yourself to be identified?
As a media activist rather than as a filmmaker. Documentary as a visual medium is close to my heart because it deals with life and experiences in their raw form, which cannot be substituted. I have always tried to use video as a participatory tool for development. Most of my films have been instruments in starting a dialogue and have ultimately brought about the change.
And that explains the themes of your works.
Yes. My first film was "Mathamma," a 20-minute documentary about giving young girls to the deity, a practice prevalent among the Arundhatiyar community in Mangattucheri village near Arakkonam, Chennai.
"Paarai" reveals the plight of the Dalit population, particularly the women, with the south Indian village Siruthondamadevi as a classic example. This film triggered a successful video participatory movement, which ultimately demanded immediate government intervention, securing protection for women who were harassed in the name of caste in the documented village.
"Break the Shackles," (50 minutes) focuses on how the three-track policy of globalisation, privatisation and liberalisation could work to the detriment of the downtrodden.
"Love Lost" is an experimental five-minute video poem (from my anthology) about how urbanisation leads to deteriorating relationships.
"Connecting Lines" is a short cross-cultural documentary on student politics in Germany and India.
"Waves after Waves," docu-feature, explores how art rejuvenates the lives of children, disrupted by tsunami. The relief activists narrate their experience and the film slowly evolves. "Altar" is an ethnographic documentary on child marriage customs prevailing in the Kambalathu Naicker community in the central parts of Tamil Nadu.
Almost all the films have participated in several international festivals and forums. Quite a few have won awards including best documentary award in the Europe Movies Festival 2003, Paris, and Norway International Film Festival.
Did you show interest in social issues even as a child?
Well, I had an inquiring mind. Being raised in a politically aware family, I used to bombard my father, Prof. Dr. Raghupathy, with questions about whatever I came across. As he made me read the writings of Bharati, Marx, Vivekananda and so on I would imagine myself to be these characters. That instilled confidence and leadership qualities. My mother Rama made me learn classical dance and music. She firmly believed that life was all about appreciating art. My personal interest was sports. That was how I grew up as an all rounder.
So your family was a source of inspiration.
Yes. Apart from my parents, my grandfathers on both sides and uncles were all leaders in their own spheres. I think that kindled the spark in me to achieve something in life.
You have worked as an apprentice with director Bharathiraaja and also as an assistant to director Cheran and C. Gerald. But you have been content with doing documentaries. Why?
To watch film festivals was an eye-opener. I yearned to participate. And I discovered the scope docu-features had. Coupled with my natural inclination to social issues, I settled for documentaries. I decided to dedicate my career to making films for social change.
To be a well-rounded personality, it is important to balance all aspects of life. Have you managed to integrate work, family and social obligations?
I have taken a road less travelled, both personally and professionally. Mine was an inter-religious, inter-caste, and inter-lingual marriage. And I am the first generation filmmaker in my family. My husband Jerrold is my strength. My mother and brother Elango will never let me down.
What, according to you, are your personal strengths?
I never stop learning and I never give up! Hard work is my biggest asset.
What are your future projects?
My immediate project is a documentary feature on the Cauvery. I am planning to do `The Water Dispute' as an extensive video participatory movement. I am planning a fiction feature as well.
Apart from festival screenings, how do you take your messages across?
I have done at least 500 screenings personally across villages, universities, schools, festivals and civil society forums. If I have made one person, after each screening, think, I'd consider my effort worthwhile. I would request viewers to help spread the message. Friends with infrastructure can organise screenings all over the world.
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