“Indian cinema needs a strong support system for female filmmakers”

Actress Rajshri Deshpande, known for her critically acclaimed performances in films like ‘Angry Indian Goddess’, ‘Sexy Durga’, ‘Sacred Games’, and many others, was part of the Jury for Royal Stag Barrel Select Large Short Films Originals, which were showcased at the MAMI (Mumbai Academy of Moving Image) film festival. Hansal Mehta and Aditi Rao Hydari were the other Jury members along with Rajshri.

In an exclusive conversation with Adgully, Rajshri Deshpande opens up about her role as a Jury member for MAMI, female directors in the Indian film industry, getting typecast in roles, and much more.

How did you decide to take up this role of a Jury member for MAMI?

It was because I got to watch so many films from across the country made by such diverse filmmakers. When I got a call asking me to be a jury member, my first reaction was ‘Oh my God, I will get to watch so many films’!

Judging a film is a very different space, because you are picking something or the other. Royal Stag Large Short Films is inspiring people to make more films, tell their stories in their own way, and providing a platform for these films to get recognised for their brilliance. I feel it’s an important space and I’m glad to be a part of this.

What has been the challenging part of the jury process?

I’m glad Hansal sir and Aditi were there for discussions, because we all had our own spaces. It is nice to actually understand another person’s perspective about any particular film. You may see certain things in a certain way, but maybe that same thing will be seen by another person in a very different way and that broadens your understanding. I always feel it’s an evolving space for all of us.

I get so charged when I see a diverse community or a tribal community being represented on screen, because I work with them in the villages and I feel that their representation is very important. So, if we are doing that at Royal Stag Large Short Films, them I think that’s a great platform.

Did you face a situation when you had different opinions on something?

Definitely, having differing opinions is important. We all have our own views on different things, what is important is to understand the other person’s point of view. For us, while judging the films, every film was special. The 1,012 films were selected after watching so many other films too.

There are quite a few female directors in the Short Films this category. Do you think such festivals are important for them to showcase their work?

Such festivals are very important. The film industry is divided into different parts – there’s the commercial side of filmmaking and then there is the independent side of filmmaking. As a female filmmaker, I feel we need to have more and more control. So, we need to have more female producers, see more women-centric films, and also have more and more representation from every community.

If you look at it, even within commercial cinema there’s an independent space. We have three women directors – Shuchi Talati, Aarti Kadav and Megha Gulzar – who have made a name for themselves. However, what we don’t have is a system, a bridge where the support system can happen for female filmmakers to take forward their film vision in the way they want to. I feel once we have that kind of a bridge for female filmmakers, they can and will do wonders.

Why do you think there is lack of confidence or trust in female directors when it comes to commercial films?

I wouldn’t say there is lack of confidence or trust in female directors, but yes, we need more support and planning for them. There needs to be a strong support system from all directions so that more and more people can actually have a vision to make a big budget films.

But I think we are gradually getting there – we have Mira Nair, Deepa Mehta and many others who have been in film direction for a long time. Now, Geetu Mohandas is making ‘Toxic’ with Yash.

Talking about female directors, would you also want to venture into direction at some point of in the future?

I had made a short film. But honestly, it was so difficult to make it. Right now, there are a lot of things on my plate, besides I’m really busy with my social work. So, my filmmaking is actually working on the ground with people. I may not be making films or traveling to the festivals, but I’m going to the villages and building schools, getting water for farming. So, I think that’s my filmmaking.

Otherwise, I act and that’s my base. I can’t predict my future and how it will turn out to be. But I feel that because of these new directors and new vision that people are bringing in, especially women and the community, along with getting more producers and the best distributors on board, things will be different in a few years.

Have you been picky about projects?

I have to be picky otherwise there is a probability of being typecast. For instance, when I did ‘Sacred Games’, everyone was offering me ‘Sacred Games’ kind of roles. I had to say no to that. When I did ‘Trial by Fire’, everyone was offering me ‘Trial by Fire’ kind of roles.

I believe in doing less work, but it has to be something different and special. I like surprising people. I’m glad that people don’t recognize me. A lot of people actually told me that they thought I was a 60-year old woman in real life! It’s interesting that I can surprise people with the many characters that I play.

Do you think actors get typecast very easily in the industry?

I think it happens because it’s a lazy kind of casting. I feel actors should be looked at just as actors. They’re creators. We should cast them so that they can mould themselves into anything. They should cast that actor by their craft, and not what they have done before. But, it’s unfortunate that we are in the industry and do tend to get typecast. That’s the reason why you have to say no and be willing to wait for something more substantial and challenging.