Hindustan Times (Patna) - Hindustan Times (Patna) - Live
Male gaze vs female gaze: Do female directors tell women stories better?
The stories one tells as a filmmaker is because of his/ her exposure to things.
ROHENA GERA,
Female-driven stories told by female filmmakers have been gathering steam in the past few years. Films such as Lipstick Under My Burkha (2016), Raazi (2018) and Panga (2020), and the recent ones such as Dolly Kitty Aur Woh Chamakte Sitare (2020), Tribhanga and Sir have received immense love from the audience. These have been hailed mainly because of the treatment given to the stories attributed to the women directors behind them. This has also led to the discussion whether when it comes to women-centric stories, female filmmakers are more inept to tell them with sensitivity and correct treatment.
“There is something called the female gaze that comes into play. It is about how you write characters, how you shoot them and your point of view. That also changes the audiences’ point of view because they see the characters the way you present them. Right now, we are still living in cinema that is moulded by men. Everything is determined by the male gaze,” shares Alankrita Shrivastava, who has helmed Lipstick Under My Burkha and Dolly Kitty Aur Woh Chamakte Sitare.
Actor Richa Chadha, who worked with filmmaker Ashwiny Iyer Tiwary last year in Panga does not think there is much difference between how a female or a male directs a film but she says it stands true in the case of few their subjects. “In my experience, it’s not been that. But when I watch something like Dolly Kitty Aur Woh Cha
Imakte Sitare, it appears a lot softer than other films. Even the topic of sexuality is handled sensitively,” she says.
Rohena Gera, who handled the story about a romance between a domestic help and employer in Sir, says it is difficult to say whether it is about gender.
She says, “Who is to say that as a sensitive man wouldn’t make a sensitive female-centric story. The stories one tells as a filmmaker is also because of his/her exposure to things. I find it difficult to categorize things as gender.”
Having worked with a female director in one of her most notable films, Tanuja Chandra’s Dushman (1998), Kajol recently collaborated with Renuka Shahane on her directorial venture, Tribhanga. The actor says, “I didn’t consider Renuka as a director. She knew what she wanted, her gender notwithstanding.”
Shrivastava feels that the onus is also on women directors. “That’s because not all have that female gaze. And, because the place is so lonely they prefer to perpetuate the status quo that just continues this male, patriarchal gaze,” she adds. am fortunate to have worked with great directors like Imitaz Ali and Prakash Jha sir, and that I got powerful scripts where I played the central characters. I am a hungry actor and when I get an impactful script, I want to deliver,” says Aaditi Pohankar, who starred in two hit web shows, She and Aashram, last year.
After debuting in Marathi cinema and dabbling in Tamil films, Pohankar got pan-India success with the two shows. The 26-year-old says, “I couldn’t have asked for anything else as both of my releases worked well. She became a blockbuster and makers noticed me and later Aashram, too, became very big. I had debuted with the Marathi film Lai Bhari (2014), which had many names from Bollywood, so it didn’t feel too different. After a stint in south cinema, I realised that I want to stick to Hindi and tried to pick strong scripts. I want people to remember my roles.”
With success, came popularity and Pohankar is revelling in the fact that she is recognised and not just in Mumbai. “I have been surprised that people in Conoor and Ladakh have recognised me, which has been so pleasant. Rickshawalas call me Pammi, and bahut pyaar se. People from US have texted and sent DMs. It motivates me to perform better,” she gushes.
The actor has films on her agenda and has a list of directors and actors that she wants to work with. “In 2021, I have a sports film, a romantic movie and next seasons of my web shows as well. But after last year, everyone wants to shoot right now and my dates are clashing badly,” she signs off.
After a terrific 2020 with releases such as Raat Akeli and Serious Men, Nawazuddin Siddiqui is gearing up to shoot as many four films in the coming months. He is in London shooting for his next film Sangeen, and admits that cases are rising daily there but they are shooting in a secure environment and taking all precautions.
“Shooting during Covid-19 times is tough. I was a bit scared and wondered how things would be,” says the actor, who will fly to Lucknow next to shoot Jogira.
“Iss saal filmein hi karni hai. Abhi OTT pe koi series nahin hai. I am glad to be doing films of different genres. I have given a lot of thought to my next projects,” he shares. With the OTT boom and a number of mainstream actors opting for original OTT films, including Anil Kapoor and Sonakshi Sinha, ask him how he thinks this move will affect the experience of cinema and moviemaking business and the actor replies, “I think cinema and OTT can coexist as both platforms are great in their own ways. OTT is liberating and democratic. Wahan monopoly nahin chalti, jo screens pe hoti hai. There is audience that wants to watch different kinds of films but when such movies release in limited number of theatres, it gets difficult for them to reach its audience. Ek bakwas film bhi agar 5,000 screen pe release ho toh, woh bhi ₹20-30 crore banayegi first day par. On OTT, the viewership for us and a superstar is the same. The viewer decides which movie they want to watch. I am glad the star-system has been levelled to some extent on the digital platform as the audience is not just about 5,000 screens, but a global level.”
Since his breakout role, Gangs of Wasseypur in 2012, Siddiqui has proved his talent and versatility in many roles and web shows. Has he thought which direction he wants to take his career, now? “I don’t want to go into any other direction. Yehi theek se kar loon, bas wahi kaafi hai. When you create a character, there are a number of difficulties you have to go through to give a damdaar performance. Even today, I feel the same nervousness and insecurity I felt in my first film. And I want to remain like that. I don’t want to change myself or think I am bigger than a character or film,” he says.
While web censorship is a topic that refuses to go away. Siddiqui feels there should not be any censorship. “There could be a certification to inform audiences about the content and people can make their own choice. Har cheez pe censorship thodi na hoti hai,” he opines.
I Even today, feel the same s I felt nervousnes film in my first
DIN NAWAZUD SIDDIQUI,
Coachella and Stagecoach music festivals have been cancelled duetoCovid-19. Theorder cited the recent virus surge that has plagued California.