Actress Chitrangda Singh arrived in Calcutta last Saturday to attend the premiere of her film Parikrama, directed by Goutam Ghose. Renowned for her choice of unconventional roles since her debut in Hazaaron Khwaishein Aisi, Chitrangda’s performances have garnered critical acclaim. In Ghose’s film, inspired by his Italian friend Sergio Scapagnini’s book The Story of Lala, she portrays a journalist. Parikrama is a trilingual Indo-Italian production that explores themes of displacement and destiny. Choosing the Narmada parikrama as its narrative framework, Ghose’s film addresses pressing issues such as displacement politics and ecological imbalance, while also reflecting on the concepts of motherhood and the motherland.
Dressed in a salmon-coloured sari, Chitrangda sat down with t2 for a chat on why Parikrama was an emotional journey for her, the significance of screening the film in theatres, and more.
You’re looking gorgeous in a sari. Are you a sari person?
It’s very difficult to handle a sari. I mean, it looks beautiful. I wore a lot of saris in many of my films, actually. In fact, in the first one (Hazaaron Khwaishein Aisi), and then in Bob Biswas. But I love them; I really do. It’s just that sometimes it can be challenging to manage certain fabrics. So, am I a sari person? I think so. I like saris.
You’ve arrived in Calcutta just as the monsoon hits the city in all its glory. What do you think of the Calcutta monsoon?
I know! Mumbai has also experienced some very heavy pre-monsoons, and it’s quite crazy there right now. I’ve been coming to Calcutta for years, and we’ve shot various projects here. So, I think monsoons are the best time of the year. When it pours, it really pours!
What’s a must-do for you every time you visit the city?
Oh, I just asked my manager to pack some Nolen Gurer Sandesh and kheerkadam! (Laughs)
You have acted in Khakee: The Bengal Chapter with Prosenjit (Chatterjee) and Jeet. What was your experience working with two superstars from Bengal in one project?
It was wonderful! Of course, I knew they were really big in Bengal, but I honestly had no idea how big they were until we started shooting. They are great actors to work with, and having scenes with Jeet was amazing. Both of them are such warm, humble people. I got a real sense of their stardom while we were shooting. It was insane how much they are adored here. For example, during one shoot in a narrow lane in Calcutta, there were so many fans that it was difficult to continue. Jeet kindly requested everyone to let them shoot, and immediately, it became quiet. The love people have for them is incredible.
Do you also wish to work in a Bengali film?
Absolutely! I’m open to acting in films in any language. As long as the project is interesting and gives me something valuable to work on, I would love to. In fact, Jeet told me that he’s going to produce something soon and that he’ll call me. So, let’s see!
You are in the city for the promotions of your film Parikrama. Were you aware of Ghose’s work before this film?
Yes, I actually saw Paar, years ago. My mother was a big fan of films like Manzil, Umrao Jaan and Paar. I was quite young at the time, but I remember those films. As I got older, I watched other films like Bhumika, and I appreciated the work of actors like Smita Patil, Shabana Azmi, Naseeruddin Shah, and Om Puri. Later, I made the connection that it was Goutamda, but it had been so many years! When I found out he was calling me for this film, it was an absolute ‘yes’.
How did you come on board for this film?
Well, my agency received a call informing me about the film. It’s an Indo-Italian co-production and not mainstream cinema, but that’s not something I’m averse to. If the project is good, it really doesn’t matter whether it’s mainstream or not. When I learned that it was Goutamda’s film, I was instantly interested. I believe he had seen my work, including what I did in Hazaaron Khwaishein Aisi, and knew of my association with Sudhir Mishra. I think they have been friends for many years, and Goutamda is familiar with Sudhir’s work as well.
You posted on Instagram saying this film was an emotional journey for you. Can you share a glimpse of that?
I did read the script, and I was aware of the displacement issue, but it’s not until you visit those places and truly see what displacement means that you understand its impact. Observing the changes in the river due to the dams that were built — what it used to be compared to what remains now — was eye-opening. I didn’t fully grasp what we’ve lost until I stood there, witnessing the dried-up trees and barren land where the river once flowed. The river has not only changed its direction but has also shrunk to less than one-fourth of its original size. The emotional weight hit especially hard when we were at the Indira Reservoir. Knowing there are about 100 villages submerged beneath it was profoundly moving; it was a goosebump-inducing moment. We even captured some underwater shots where you can still see remnants like temples and buildings from those villages. Following the entire parikrama, we really immersed ourselves in that experience.
Were there any particular challenges that you faced while playing Rupa?
Honestly, I was mostly reacting to everything around me. There weren’t any significant challenges in that sense. While we did encounter tough circumstances during filming — sometimes being in the middle of nowhere, as Goutam prefers to shoot while following the river’s course — those situations weren’t challenging to me. In fact, it felt liberating. I hadn’t experienced a role that allowed for so much improvisation before. Many of my lines were spontaneous; I could just talk freely. Goutam encouraged that kind of creativity, allowing me to deviate from the script if it felt right. It was refreshing to be able to dress casually; if it was cold, I could wear a jacket because my character, being a journalist, could wear what suited the weather. It was really just about being myself and experiencing the environment.
What did you appreciate about Ghose’s working process?
What I admire about Goutam is his incredible idealism as a director, environmentalist, and storyteller. His primary focus is on the story and its truthful representation. In today’s film industry, you often find directors preoccupied with financial aspects or visually stunning shots. But Goutam believes that the truth of the story trumps everything else, and that was very refreshing for me. I’m not sure if I’ll ever direct a film myself, but I learned that filmmaking can be honest without needing to manipulate the audience.
How was your experience working with Marco Leonardi?
Working with someone from another country who speaks a different language is always fascinating because their rhythm and performance style differ. I found myself needing to match his pace a bit. However, I had a fantastic time; Marco was wonderful to collaborate with. He was always open to improvisation, which made the process even more enjoyable.
The film addresses a significant subject. How important do you think it is for audiences to see films on serious themes in theatres?
Directors like Goutam Ghose have the courage and idealism to create films like this, which speak to audiences who share a certain level of idealism as well. As I mentioned in my Instagram post, some stories must be told. They may not entertain in the traditional sense, but they are crucial to watch because they document a specific moment in history. It’s essential for this generation to question and think critically rather than simply consume entertainment. This film aims to provoke thought, making it significant for audiences looking for deeper meaning.
Are you aware that the film opened to a full house at the Kolkata International Film Festival last year?
I found out about that recently, and I was thrilled! Goutam was also very pleased. You can imagine how fulfilling that must be for someone who has dedicated so many years to this film. It was also great to connect with Sergio, our producer from Italy, after all this time. I met him after we finished filming the film.
Is nature very intrinsically associated with your life, too? We see it associated with your fitness journey or when you spend time with your son…
I think it’s the most important thing. It’s all we have. It takes back everything that we take from it. And we’re seeing that around us. So, I kind of feel better in a way because there is not everything that man can destroy. Sometimes nature will take back, no matter what you do. So there will be some kind of levelling that’ll happen at some point. But we should be aware of what we’re doing to it. And I think it’s very important.