Following its Best Film win in the Bengali Panorama section at the 2024 Kolkata International Film Festival (KIFF), Abhijit Chowdhury’s Dhrubor Aschorjo Jibon has been winning praises from viewers since its theatrical release in February. In a chat with The Telegraph Online, Chowdhury discusses the challenges of crafting a nonlinear narrative and the artistic influences behind the film.
How did you develop the idea of Dhrubor Aschorjo Jibon?
Abhijit Chowdhury: I was fascinated by the idea that a single decision can ripple across multiple realities, leading to drastically different outcomes. That curiosity led me to explore the concept of a multiverse. But instead of approaching it through a sci-fi lens, I wanted to ground it in human emotions, crime, morality and the unseen forces that guide us. The film grew from there, blending philosophy, thriller elements and a deep love for visual storytelling.
The film is a tribute to four stalwarts of Bengali art — Jamini Roy, Gaganendranath Tagore, Bikash Bhattacharjee and Benode Behari Mukherjee. Why did you choose these four artists?
Abhijit Chowdhury: Since I had to create four distinct worlds for Dhrubo, I turned to the themes and works of Bengali artists who redefined artistic expression in their time. Each of them had a unique way of interpreting Bengal, its people, struggles and dreams. Each of these four legends challenged the norms of their time.
Jamini Roy broke away from western styles to embrace folk art. Gaganendranath experimented fearlessly, creating surreal and political art works. Bikash Bhattacharjee’s haunting realism captured the silent, unsettling undercurrents of society, and Benode Behari Mukherjee proved that vision isn’t just about eyesight but a deeper perception of the world. In many ways, their journeys mirror that of my protagonists — individuals struggling against fate and making choices that define their existence.
The pre-interval scene recreates Gaganendranath’s iconic work, Pratima Visarjan. How did you bring the painting alive on screen?
Abhijit Chowdhury: That moment was one of the most ambitious visual challenges in the film. Pratima Visarjan is not just a painting; it’s layered, abstract and emotionally charged. We didn’t want to recreate it as a gimmick but to let the characters’ journey naturally lead to that final bisarjan moment.
We studied Gaganendranath’s work extensively, not just for his style but also for his philosophy. His play of shadow and distortion wasn’t mere aesthetics; it was a critique of power, a reflection on fate. That essence shaped the entire second chapter of the film.
Translating it into cinema meant capturing more than just the look; it was about evoking the feeling. Through careful choices in production design, lighting, blocking and performances, we aimed to recreate its dreamlike unease. I am really thankful to my production designer Ayandeep Chakroborty, cinematographer Arnob Laha, colourist Sourav D and the entire team for achieving this.
Abhijit Chowdhury
Dhrubor Aschorjo Jibon is a first-of-its-kind multiverse film. Were you apprehensive about how it would be received?
Abhijit Chowdhury: Of course! Bengali cinema has always had a rich tradition of storytelling but a multiverse narrative isn’t something audiences here are used to. I knew it was a risk. People might dismiss it as ‘too different’ or ‘too complex’. But I also believe that audiences are much more open to fresh narratives than we give them credit for.
At its core, Dhrubor Aschorjo Jibon isn’t about parallel worlds; it’s about human emotions, choices and morality. And those are universal themes. I was hopeful that if the emotions resonated, people would connect with the story even if the structure was unconventional. And looking at the reactions now, I think that gamble has paid off.
After winning the Best Film award at KIFF, Dhrubor Aschorjo Jibon is now getting a lot of praise from the audience. How does it feel?
Abhijit Chowdhury: It feels surreal. As independent filmmakers, we don’t have the luxury of big marketing campaigns or star-driven hype. Our film has to speak for itself. Winning at KIFF was a huge moment, affirming our belief in this story. But the real reward has been the audience’s response.
People have been deeply moved by the film. Many viewers have shared how the story made them reflect on their own choices and possibilities in life. We’ve seen audiences sit quietly even after the credits rolled, letting the film linger in their minds. And when they stay back to discuss the film, when they message saying they want to experience it again, that’s when we know Dhrubor Aschorjo Jibon has truly connected with the audience.
Do you think films like Dhrubor Aschorjo Jibon can revive indie Bengali cinema?
Abhijit Chowdhury: I don’t believe indie cinema needs ‘reviving’; it needs room to breathe and producers who are willing to take risks. I’m truly grateful to Nilarun Basu and KS Gayen for backing a project like this. The real challenge isn’t a lack of great films; it’s a lack of visibility. There are so many filmmakers with compelling stories, but without proper support from theatres, distributors and streaming platforms, these films struggle to reach audiences.
Dhrubor Aschorjo Jibon proves that viewers are open to fresh, unconventional storytelling; they just need to know these films exist. The hunger for good cinema is there, we just have to bridge the gap.