‘There are so many stories that need telling.’

Interview with Yasmine Kabir \R.K.Bijuraj


Yasmine Kabir, Bangladesh filmmaker and social activist, in a conversation with BIJURAJ, explores the potential of documentary films in highlighting social issues.


I remember you saying that like the Native Americans you don’t like being photographed. Your belief is that cameras steal your soul. But you are a filmmaker. Doesn’t your work involve stealing of souls?

That was something I had said half in jest. The truth is, I am camera-shy and prefer to be behind the camera rather than in front of it. Having said that, I also feel there is something to the belief of the Native Americans, that the camera has the ability to steal souls. We all know how powerful the media is- in its ability to do much harm through misinformation as well as in its power to transform for the better. Those of us living in this age bear testament to its tremendous potential and that is why we have to learn its proper use. That is not to steal souls, but to liberate them.

What is the the documentary to you? How much does the activist-in-you enjoy the exposure through this medium?

Documentary to me is the most powerful medium, the force of which we have not yet been able to harness. It is an explosive and challenging medium with far-reaching consequences. Think of its possibilities in terms of reaching people by the thousands. People do not have to be literate to understand a documentary film, anyone who knows the oral language can access it. Unlike reading a book, film is a collective experience; it can be watched by so many at the same time and place, and can generate many discussions and ideas. It is a very effective tool for social activism. It is a form of visual travel. It can bridge cultures. It can clear us of misconceptions and bring people together. The possibilities are unlimited. We have only begun to tap at the surface of this medium. As documentary filmmakers we have this tremendous tool in our hands, and we need to ask ourselves, have we truly explored its full potential? Are we seeking ways to tell our stories differently or are we still hidebound by what has been passed down to us? Are there new ways of seeing? Is it different to see through mechanical eyes? Can we adjust those closer to a more natural way of seeing? And ultimately and most importantly, are we remaining truthful to ourselves through it all?

What role do you see documentaries playing in a society? How have your films been received in Bangladesh?

I believe that documentaries can lead to thinking differently about social issues. It can even help change minds. In that sense it can help towards making changes in society. My films have been well received here in Bangladesh, especially among the ordinary people, as they deal with issues that are relevant to them. My most successful screenings have been mass, outdoor screenings. Through my work, I also intend to show that it is possible to make a film without a huge budget, without a crew and with minimal technical fuss. This is an important point to bring across, because the filmmaking apparatus can be highly intimidating. Video has freed us to a certain extent.

How did you make the foray into filmmaking?

I was always fascinated by storytelling; as a child I loved listening to stories. In the contemporary age the storyteller has been replaced by the camera, so it is only natural that I am drawn to the camera. As far back as I can remember I’ve always wanted to make films. Having lived in the Bay Area helped, because San Francisco has such a large community of filmmakers and the resources are incredible. Seeing Perfumed Nightmare made the possibility seem real. The film was made in circumstances, similar to ours in Bangladesh. That’s also when I started thinking about the kind of films I would like to make.

What demands most of your attention while making a film? How do you decide on the characters?

To me, it is of prime importance to connect with the protagonists of my films. I connect to issues through individuals. Something about a particular story moves me and inspires me to work on it. The way you tell the story is important. I intend to create in my viewers the same feelings that stirred me to make a particular film, to bring the viewer closer to experiencing it the way I have experienced it. It is important for me that the audience connects at an emotional level with what I am presenting. Most of my stories have come from the newspapers. My earlier film, My Migrant Soul, grew out of a story I read in the papers. I was so moved by what I had read, that I immediately got in touch with the journalist, who introduced me to the family and I proceeded from there. Most of my work has happened this way. I try keeping my style simple and accessible so that it is open to all audiences.

What are the details you give special attention to while filming? Have you ever thought about making a fiction film?

I am drawn to the documentary medium- there are so many stories that need telling. I consider it visual writing. I like working alone without putting too much emphasis on the technical aspects. These days, you see many technically well-made films but they lack content. Sometimes I have a reaction to that. During filming, I usually have a friend to help me. I handle most of the camera work, preferring a handheld camera as this gives me more mobility. Also I find that, even though it is steadier with a tripod, the shot really comes alive with a handheld camera. It is as if the shot is given life with the aid of a living hand. Both my documentaries were made on a Hi-8 semi-professional camera; I had no crew and did all the shooting on my own for My Migrant Soul. I tried being as self-reliant as possible. I did the video editing on my own and gave it the most time. I want to stay involved in every aspect of the filmmaking process. Perhaps, I will make fiction too one day.

Have you ever run into hurdles being a woman filmmaker? Is filmmaking catching on among women?

Though there are still very few women in the field, there is a growing interest in women towards making films. It is important for women to enter the field, especially in closed societies like ours. I have till today, not faced any problems while filming- people have generally been accepting.

How far have documentary filmmakers succeeded in taking their films to the masses?

This is a common problem that most of us face- to be able to take the films to the people. In South India, you have been more successful as you have a number of committed film activists.

Dhaka is now your base. What sort of treatment do documentary films and filmmakers get there?

Unfortunately, documentary filmmaking remains relatively unexplored in Bangladesh. Few documentaries are being made by independent filmmakers, mostly they are NGO-sponsored documentaries. Documentaries enjoy good response from Bangladeshi audiences, especially in festivals when turnouts can be huge. I had several outdoor screenings of My Migrant Soul, in local areas where a lot of young people were being recruited by agencies for migrant labor. People showed great interest. They were even standing on rickshaws and watching from across the street. They could identify with the faces on the screen, the faces spoke of matters they could relate to. Later, people would come up to me to tell me of their own personal losses- of a lost relative who they have not heard from ever since they left home. The interest is there but they lack the resources.

A Certain Liberation starts with visuals of cattle listening to a former Premier’s speech? What are you trying to convey here?

Even though the opening visuals were very brief- a matter of seconds, they generated a lot of discussion here in Bangladesh. People belonging to either political party were not pleased by the irreverence. I drew a parallel between people who are bussed to political meetings with those of cows, taken to the slaughter during qurban. There is a saying in Bengali, "they (Politicians) consider us cattle". I literally give that a visual form- humans transformed into cattle.

Gurudasi Mondol, the character in the film is shown to be someone not scared of the people in power. This aspect of the film stands out. Can you elaborate?

That is what struck me most about her and this is what people in her village respected her for, the impunity with which she confronted the people in authority. A reversal almost, she shows the stick to the person in authority. A radical step indeed. It immediately strips the authority of its self- importance and pompousness. And it is done in such a simple and effective manner. I wish more of us could be like her. Society would be much better off with more people like her. Instead we allow those in power to bloat and take on monstrous forms like demons in folktales.

Gurudasi Mondol, uses her stick against the elderly too. What do you have to say about this?

The stick is an age-old symbol of protest for the dispossessed. The only weapon they can resort to- the last resort. Gurudasi Mondol uses it at the very first opportunity she gets.

We know Gurudasi Mondol is not mad but the theme of ‘madness’ runs through the film.

If madness is what allows us to express our feelings freely, be it grief, love or anger; if madness is what allows us to reach out to our neighbors irrespective of caste, creed or gender, then madness is what ought to be prescribed for all of society.

You are from Chittagong region, which has a rich culture and history. How has it influenced you?

Chittagong has had a deep influence in my life. I grew up hearing about great revolutionary figures like Pritilata Waddedar and Surya Sen and the leading role Chittagong had played in the fight against colonialism. Even during the liberation war of 1971, Chittagong was at the forefront. All of these aspects of the city certainly have had an influence on me- a certain spirit, a certain fearlessness about the place. It must be the sea.

Tell us about your association with Narika.
Narika grew out of a group of friends. Quirone Adhikary, came up with the idea of a hotline for South Asian Women subjected to domestic violence. The need for an organization for South Asian women, in the San Francisco area, was indeed real. These were women who had left behind families to come to an alien environment and who were frequently mistreated and abused by their partners. They had nowhere to turn to and were not comfortable approaching mainstream organizations. We contacted other South Asian women who, in spite of their initial skepticism, came forward to make Narika happen. The organization has grown in different ways. Many of the founding members have moved on, but the organization continues to sustain itself. Working with women in Narika helped me in my work later because, it taught me how to listen.

What you say about Indian documentary films?

The documentary movement is certainly becoming strong in India. There seems to be a community of likeminded filmmakers. This helps. The platform can only be strengthened if more people join the movement. I wish we could have a similar movement in Bangladesh.

What films are you working on at the moment?

Currently, I am working on a documentary on shipbreaking.

What would you have been done if you were not a filmmaker?

I would have liked to be a poet.

Tehelka web
Posted on December 21, 2007