‘WON’T GIVE IN TO COMMERCIAL CALIBRATIONS, HAVE THE LICENSE TO DREAM BIG’
Tillotama Shome’s poignant performance as Ratna in Rohena Gera’s Sir evokes realisations regarding class divisions inherent in our social structure. No doubt, viewers are showering praises on Shome. “The audience has given me the license to dream bigger and not give in to calculations and commercial calibrations. For good or bad, it has made me more idealistic... I’m genuinely grateful for the sudden surge of projects. But I’m taking time to decide what I want to do and why,” the actor shares.
In her career spanning two decades, Shome has been part of interesting films such as Monsoon Wedding (2001), Shadows of Time (2005) and Qissa (2013). Many of her works, including these films, travelled to various international film festivals. But, closer to home, recognition for her has been limited. However, with Sir — that premiered at Cannes Critics Week — things have become different. If this acknowledgement had come earlier, would her career have taken a different turn?
“Who knows? But my practice of Buddhism allows me to enjoy the belief that a strong foundation takes a long time to build and is unseen. It needs time, away from the glare and the gaze of others… So where I’m is exactly where I need to be,” she replies.
Appreciation raises expectations. But Shome has a different perspective. “I’m looking at it as an anomaly, a glitch in the system, an exception... the algorithm has momentarily been taken over by audiences’ love for an independent film. It’s heartwarming. I’m grateful and it’s definitely a first. But, one is accustomed to working in the shadows and taking joy from it. This is a bonus and an encouragement to continue being an oddball,” adds the actor, who’s working in directors Rima Das, Anup Singh, Saumyananda Sahi and Madhuja Mukherjee’s upcoming projects.
Sir was the new Hindi release that opened Indian theatres, but it worked better when it released on an OTT platform. Asked if she thinks the web offers a more democratic space to creators and performers, Shome says, “I’ve not done enough work on OTT to answer this question with much authenticity or research. But I hear things aren’t ‘so democratic’ in this brave new world either. This is sad but expected, I suppose. Steering things to a more positive note, I thank the OTTS for bringing home a host of wonderful actors and writers who’re speak different tongues — the sounds are diverse, the languages embrace the richness of the vernacular and specificity of a place and time. This plurality of voices is exciting.”