Interview by Calvin Frederick: Aneek’s Cinema

This is an interview with Aneek Chaudhuri, filmmaker from India where the interviewer is Calvin Frederick. Aneek had received acclamation for his films at Cannes, Warsaw, Los Anegeles, Melbourne, Turkey, Italy etc. He is also a renowned film theorist challenging the existence of Auteur Theory, World Cinema etc. and has five books under his authorship.

His recent film Streer Potro is making an international premiere in Canada, and hence this interview has been published at one of the directorial forums.



Q. Streer Potro, The Wife’s Letter! Do you feel accustomed with the conjugal status these days?

I am not someone who needs to be at the brothel to work on a script based on red light area workers. Hence, the answer to your question is quite straight. Heard of Stanislavski? I am sure you have when you are taking an interview of a filmmaker. I can perceive things without their real existence. Streer Potro is a film that is based on three different layers and goes beyond conjugal bonds.

Q. Well, Okay! So, Aneek is this another torture from the bag? I mean people do refer your film to be a torture on common people and is made for a high bunch of intellectuals.

Why do we all live? I do not think your answer would be “to please others”. I craft my bit of Cinema for people like me, for people who tend to study cinematic elements. I am to be imprisoned for making quality movies as you say being equated to torturing people, I would rather call that day to be the death of my Cinema. I just give people a route where they can face real life situations in the very reel manner.

Q. Do you also refer yourself to be someone who can equally work for the society as you work to please yourself?

I do not work to please myself, but to please replica who actually have the same focal point of interest as I possess. Society is a term which is not very concrete and I prefer to work for some people indeed who form a small segment of this society; hence, Universality of sets gets justified here.

Q. Now, if I ask you to define your film in one word, what would it be?


Q. Why, so?

Visuals decode language that is encoded in the brain of a filmmaker; hence, this is all about visual language.

Q. Ashes, cigarettes, alcohol! Which is the addiction that appeals to you the most?

I consume none of the above. I prefer people to be the object of my addiction, other than Cinema. There is nothing, but the smell of skin which intoxicates you; apart from this, the smell of the saliva that touches your wrist is another intoxicating particle for me.

Q. It has been noted that you have used steamy scenes in your film. Define sexuality.

I believe you are well aware of sexuality, as I am. It is not only about going to bed and feel yourself aroused, but all about getting your intellect aroused at a visual delight. That is sexuality for me! Viagra is the least needed here, as I depend too much on my conscience to energize my senses. Speaking of sex scenes in my film, they were needed, and I am not a coward guy to avoid them fearing it would hurt someone’s feelings, sentiments etc.

Q. Now, Aneek going back to from where it all started, give your take on Streer Potro.

Come, watch and see if you are well enough to decode the meaning of the film. Cheers!

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