Pradipta Bhattacharyya’s film Nadharer Bhela captures the rich tapestry of Bengal's indigenous culture, all set against the backdrop of the quotidian life of a circus company. Ritwick Chakraborty plays the role of a torturous circus manager, while the protagonist, Nadhar, with his sluggish demeanour, creates a striking contrast to the buzzing energy of the circus and the rhythmic pace of village life. Drawing from the timeless myth of Behula and Lokkhinder, a tale of everlasting love, Bhattacharyya crafts an engrossing three-hour narrative that explores subversion, human exploitation, the purity of human emotions, and an inward journey in search of love and hope. A t2 chat with Pradipta and Ritwick:
Despite the screening hours, your shows were houseful at KIFF...
Pradipta: It was wonderful to finally present it to the audience of Bengali cinema. The film has made its way to numerous international festivals, but to receive such a warm reception from our own people at KIFF was exactly what we were hoping for.
Ritwick: It received international acclaim in Rotterdam, and in Canada, it was honoured as the best film. At KIFF, so many people not only watched the film but also enjoyed it. They shared their thoughts and feedback on social media, and we're still reflecting on the film weeks after its screening.
Pradipta, what sparked the idea for this story?
I’ve always been captivated by nature documentaries, especially one where I saw a sloth climbing a tree while an eagle was watching, ready to strike. The eagle knew it couldn’t rush in and outpace the sloth, just as the sloth recognised it couldn’t outrun the eagle. This concept stuck with me for a long time — the notion that someone who moves at an unhurried pace can become a target in a fast-paced world.
Ritwick, what drew you to the script?
I first heard about this story long ago when it was still just a concept. As Pradipta mentioned, it began as a simple idea, but once the script was complete, it transformed entirely. The vision and scale were huge. It was not just another film for me. I understood Pradipta's vision, and I was eager to be a part of it.
Pradipta, do you believe in repeat casting?
It is not about repeat casting. My focus is on teamwork. I've known Ritwick and Aparajita (Ghosh Das) for about 22-23 years, and we’ve worked in a lot of films together, which creates a strong sense of collaboration.
Ritwick, what’s the director-actor equation you share with Pradipta?
Given how long we've known each other, it transcends the usual director-actor dynamic. From the start of our careers, we’ve built a friendship founded on mutual respect for each other's work. Pradipta has his unique approach, much like every director does. His style requires a different kind of preparation from an actor. After working together for so many years, I know what he’s looking for. Pradipta dedicates himself to describing his main characters elaborately, which might not always make it into the script. His approach allows for a vast amount of improvisation — not just for the actors but for everyone involved, including the DoP. The atmosphere and rhythm during his shoots are quite unique, and spontaneous situations often arise.
Pradipta, your work has often been inspired by Bengal’s folk culture, and in this film, you focus on jatra…
These elements are ingrained in Bengali culture. Some of these traditional forms are fading away, and we tried to preserve them through our film in our own way. This aspect was crucial to the film. Jatra is currently undergoing a transition, influenced by television and mobile phones, and we reflected on that in our storytelling, too.
The villages we often see depicted in movies show a stark sense of desolation and poverty. But through your lens, you've shown its vibrancy...
The portrayal of village life in films, for instance, a woman typically draped in a sari, fetching water with a pot... that doesn’t truly represent village life today. My goal was to capture the essence of the modern village.
Tell us about your shooting experience.
Pradipta: We had many people involved, all contributing to the scene. The villagers were incredibly cooperative, allowing us to incorporate them organically. We managed to shoot a three-hour film in just 13 days, and we couldn’t have achieved this without their support. Our team, both from the city and the village, came together like a well-orchestrated concert. The synchronisation was exceptional. This kind of collaboration is rare. We all stayed in the village during the shoot —accommodating in lodges, homes, and tents. During the day, the cast and crew would rest in circus tents, as we didn’t have any make-up vans.
Ritwick: If we had approached this shoot in our usual way, using extras or junior artistes, it wouldn’t have felt the same. The people we worked with were villagers; none of them were actors, which is why they came across so naturally on camera. They weren’t the least bit self-conscious. That’s where Pradipta’s skill shines; he creates an environment that encourages authenticity. We’ve shot in many remote locations where make-up vans are impractical, so we always find alternatives. Here, we turned the circus tents into green rooms, which served as our space for actors as well. Filmmaking is inherently collaborative, yet sometimes only a handful of people put in the effort while others stick to their roles. The idea is for every member to contribute, creating one cohesive film. Bringing all the actors together in a unified frame of mind is something Pradipta excels at.
The costumes were truly fascinating...
Pradipta: The fact that we showed circus life gave us a chance to explore with the costumes. The make-up and costume team had some basic guidelines, but the outcome they produced was remarkable and showcases a level of sensibility, without which this would not have been possible.
Did your research include any hands-on experience of a circus group's daily life?
Pradipta: I've accompanied such groups, folk artistes, a few times for documentaries, which has shaped my understanding immensely.
Ritwick, your role is notably different from what you've done so far. How did you embrace the character?
It was very tempting for me as an actor. Haradhan is a totally negative character. He is the owner of a failing circus, devoid of empathy, and quite ruthless towards his employees. However, as the story unfolds, viewers can understand the vulnerabilities that drive his behaviour. He is unpleasant in every way, and is unlike any role I’ve portrayed before.
Was there a particularly challenging scene?
There was one intense scene where Haradhan attacked Nadhar with a bamboo stick. It’s a long shot without cuts, and the whole circus is trying to intervene. We had a rough outline for how that scene would unfold, but with so many people involved, it required a lot of coordination. The scene was all about movement and interaction with different actors. I was really excited about it. When I finally saw it on screen, I enjoyed watching it just as much as I had while performing it.
Pradipta, your films often touch on the theme of the quest for love…
I don’t really consider that a trope. To me, it’s just a fundamental part of life. It’s not merely a device for scripting; it reflects real experiences.
You delve into the theme of exploitation in a compelling way...
Pradipta: The theme of human exploitation extends beyond the circus setting. Although that's the backdrop, human exploitation is escalating in today’s world. The era we’re in is marked by rapid technological advancements, yet the scale of exploitation has also intensified. We definitely aimed to shed light on this issue.
You incorporate various symbols and metaphors in your films...
Pradipta: Actually, I don’t intentionally use symbolism. Whatever the audience interprets is perfectly fine with me, but I prefer not to rely on symbols. My aim was to present something complex in a straightforward manner, and that guided my narrative framework, editing or scripting.
What are your hopes for the theatrical release of the film?
Pradipta: We’re looking to release it soon. We've submitted the film for censorship review, and once we receive approval, we’ll move forward with the release.
Ritwick: Everyone involved in the film is optimistic about the release. It’s not a typical movie that draws crowds to theatres. Yet, people who’ve seen it were genuinely captivated. Many were left in a trance for days afterwards. It's an experience that isn’t commonly heard about.