When Anuparna Roy accepted the Orizzonti Award for her debut film 'Songs of Forgotten Trees' in Venice, she achieved a rare feat for a woman from her background. Displaying pure emotion on stage, Roy celebrated being the first Indian director to win in this category designed for emerging voices in independent cinema.
Roy's story is compelling as she hails from a nondescript tribal village in West Bengal, far removed from the cultural elite of Kolkata. Unlike celebrated filmmakers from Bengal, Roy carved her path through the conventional journey of small-town Indians, initially working in a call center before cultivating her passion for cinema.
After an unexpected encounter with film students sparked her interest, Roy meticulously saved money and self-funded her short film 'Run to the River.' Her determination saw her connecting with producer Ranjan Singh at a party and persuading him to back her project. Influenced by directors such as Anurag Kashyap, she soon had Kashyap's support for her debut feature.
'Songs of Forgotten Trees' narrates the intertwined lives of Thooya, an aspiring actress and escort, and Swetha, a fellow migrant working at a call center. Their cohabitation evolves into a profound bond as they navigate urban life marked by desire and struggle.
The film garnered praise for its raw portrayal of women's survival, resonating with audiences for its authenticity. Critics commended Roy’s observational filmmaking style, demonstrating her commitment to genuine storytelling over traditional cinematic norms.
Roy's film is not only a narrative but also a reflection of her personal history, integrating her grandmother’s experiences and broader societal issues like the plight of marginalized communities in India.
During her accolade at Venice, Roy famously wore a handloom saree symbolizing solidarity for the children of Gaza, merging her cultural roots with a global statement. Despite some backlash, she reaffirmed her intention to address uncomfortable truths through her art.
Looking ahead, Anuparna Roy has plans for sequels and prequels to her film, asserting her vision against making mainstream, commercial cinema. I can't make sugar-coated cinema, she declared, emphasizing her commitment to portraying the harsher realities of life.
