Amartya Ray's documentary feature, You In This City, This City Inside You, is making its world premiere today at the 29th Internationale Kurzfilmtage Winterthur in Switzerland, where it will represent Indian narratives at the festival. Set against the backdrop of Mumbai, the film offers an intimate look at the lives of migrants, delving into their dreams, fears, ambitions, and the inherent uncertainties they face. In a t2 chat, Ray opens up about the thoughts and experiences that inspired the story, its distinctive narrative style, and much more:
Congratulations! What inspired the story of the film?
Thank you! The film’s roots lie in exploration. There’s a French term called ‘flaneur’ that describes individuals who uncover hidden truths about cities while meandering through them. For a significant part of my life, I’ve felt like a ‘flaneur’. The joy I find in wandering through cities is something I wanted to capture in a film. Also, I wanted to create an entire film using a handycam. In an era where everyone is chasing the crispness of 8K, 6K, or 4K resolutions, I opted for the HD quality of a handycam, giving it a grainy and imperfect feel. I believe that the power of a good image is not bound by pixels.
Additionally, having left Calcutta to pursue opportunities in Mumbai, I’ve experienced the struggles of living in a city on my own. This feeling of being a migrant in a city that offers both harshness and romance has shaped my narrative. My collaborator, Tanvi Chitre, who also edited the film, has played a significant role in its creation. This festival is just the first step for us to reach as many viewers as possible, as traditional means of distribution can be challenging for such films.
What kind of research went into the making?
The film is backed by PSBT, which has been championing independent non-fiction narratives. I had the privilege of being part of their program called Doc Commune, which allowed me to dive deep into my research over several months. I interacted with many construction workers who were building metro lines in Mumbai. A significant number come from Odisha and Calcutta to find work there. In addition, I delved into the world of Bombay poets from the 1970s, like Dilip Chitre and Arun Kolatkar, whose descriptive poems captured the essence of different areas in the south of Mumbai. After reading their thoughts on the city, I would visit those locations with my camera, aiming to seize the imagery they portrayed. Some elements depicted in the film are rooted in my personal encounters.
Your film deals with themes of identity and the displacement of migrant workers...
I wanted to portray a narrative that deviates from the conventional image of migrant workers from Bihar, as that has become a familiar trope. There are countless reasons for migration, and Mumbai truly embodies a city shaped by migrants. They inhabit various spaces, from chawls to under bridges and high-rises. Migrants come from all walks of life; whether privileged or not, they leave their homes in search of better opportunities. This shared experience fosters a universal connection for anyone living in Mumbai. The city is brimming with young individuals who have ventured away from home to carve out new realities. My film aims to illuminate universal human emotions intertwined with the migrant identity. The aspiration for a better life, the decision to leave one's home and migrate, and then facing the stark realities of a new environment is a feeling many can relate to — the feelings that transcend individual circumstances and speak to a collective human experience are what the film seeks to embrace.
Tell us about the narrative style you chose for the film.
I aimed to create something that feels like a diary entry. While the audience views Mumbai, they also hear a series of unanswered phone calls. The character in these calls remains unnamed, revealing bits about his friends and his life through the conversations. He could represent anyone — perhaps you or me. It’s structured as a one-sided phone call, like a voice note or voicemail situation. The person he tries to reach never answers, yet he tells his story as if inviting the audience to witness it. The voiceover has been done by Amritendu Mukherjee.
How do you connect with Mumbai? What inspires you?
This connection to the city is part of why I wanted to create my film. It's as if countless realities and identities coexist simultaneously. This diversity is embedded in everything, from the geography to the people. It's a melting pot, with individuals from all over the country and various languages coming together. It is fascinating! However, there’s something else about Mumbai that intrigues me, often in contrasting ways. It sometimes alienates me, prompting deeper reflections. Mumbai feels vertical; everything aspires to rise rapidly. This relentless climb mirrors the ambitions and dreams of its people — the homes must be taller, the cars larger, and the pursuit of more seems never-ending. The city embodies this pressure, and at times, it feels like it could all come crashing down. The old structures are erased so swiftly that it’s hard to keep up. It's common for filmmakers to grapple with profound questions rather than provide solid answers. Often, it's these lingering questions that haunt us late at night. I believe this film attempts to voice some of those unanswered questions to the audience.
The title of your film is quite interesting…
Agnes Varda, the French documentary maker, shared a thought that I discovered in film school — all human beings carry landscapes within themselves. That idea really resonated with me. I believe that each of us carries the urban landscapes we inhabit within us. There are places we remember — a cinema hall, a tea shop, the street where we experienced our first kiss, the river that flows nearby. The inspiration for the film's name actually came from a couplet I wrote in a poem: "You sit alone in a city, within you sit a city that is alone."