In early May last year, filmmaker Arindam Sil was deeply immersed in shooting his film Korpur across multiple locations in Calcutta, managing an impressive 57 locations in 19 days. On one such day, we visited the sets at the historic Dr. Manmatha Nath Chatterjee Memorial Eye Hospital in Rajabazar, located opposite Science College. Originally the residence of Chatterjee, the building now stands as a recognised heritage site.
As we entered the bustling set, we found Rituparna Sengupta preparing for a scene in which she was to receive an injection. The atmosphere grew silent as multiple takes were filmed, each carefully refined until the director was satisfied with even the smallest detail — down to the way the needle was held. After some time, Rituparna greeted us warmly. Alongside Arindam, she closely observed the playback.
Curious about the casting choice, we asked Arindam why he selected Rituparna for the nuanced role of Moushumi Sen, a character inspired by the real-life disappearance of a Calcutta University official in the late 1990s, Manisha Mukherjee. He responded, “To understand that, you’ll have to watch the film. I needed someone who could embody Manisha’s essence, and Ritu has done just that. She carries herself with immense grace. Even after all her years in cinema, she still has the drive to portray layered characters. When she takes on a role, she goes the extra mile. I’m not just saying this because it’s my film — the Bengali audience will once again see the Ritu we remember from the films of Rituparno Ghosh and Aparna Sen.”
Rituparna, too, expressed her enthusiasm about collaborating with Arindam for the second time after Mayakumari. “He had always spoken about wanting to make a strong film with me — one where the character would stay with audiences. I believe Korpur has given me the opportunity to be seen in a new light. Arindam has guided me in many ways to bring out what he envisions for Moushumi. I’ve discovered new facets of my performance through this process. In all my projects, I try to align with the director’s vision, but I feel Moushumi will leave a distinct impression,” she said.
Arindam added, “Rituparna is deeply involved in the film. She is always present and willing to deliver as many takes as needed. Despite having a lot on her plate, when she realises she has a demanding director like me, she truly pushes herself. Her performance in Korpur (releases in theatres on March 19) will definitely stand out.”
Even past 8pm, the energy on set remained infectious. As Rituparna returned to her vanity van to prepare for the next scene, the crew worked swiftly to set up lights and prepare the location. The lighting cast intriguing sepia tones across the set. “The colour palette is crucial, especially since we are exploring two time periods — 1997 and 2019. Each era has its own visual identity. I’ve been very intentional about how colour is used. It’s not just about shades; sometimes it’s about a specific object placed in a certain way. Every element is designed to convey subtle meaning,” Arindam explained. He further elaborated, “Everything — from colour palette and production design to camera work, music, and editing — plays a vital role. We’ve crafted transitions in a unique way, sometimes moving between time periods simply by shifting from one room to another with the same characters.”
Managing 57 locations was no small feat. Most of the film was shot in North Calcutta. “We built two sets; the rest are real locations. The streets of old Calcutta are very special to me — especially the northern parts of the city. We also shot some scenes in the hills. I had a clear vision and refused to compromise,” he said.
He added, “Recreating 57 settings in today’s Calcutta is incredibly challenging because the city is changing rapidly. We did use AI, CG, and VFX to assist us, but our core approach remained rooted in authenticity. We searched extensively for locations that matched our vision and stripped away modern elements. Places like Dalhousie Square and Babughat still retain their old-world charm, which worked in our favour. Kaushik Das has done phenomenal work in bringing this together.”
The film is adapted from Dipanwita Roy’s novel Antardhaner Nepathye. Arindam explained, “What drew me wasn’t just the story, but the issues it highlights. Education and healthcare are fundamental and should never be compromised.”
He continued, “Take the case of Manisha Mukherjee. In 1997, she orchestrated a scheme to manipulate academic grades. This not only undermined the education system but also affected the futures of deserving students. When someone undeserving moves ahead, someone truly deserving is pushed back. That reality stayed with me. Dipanwita’s narrative provided the perfect foundation for a gripping thriller rooted in real events. Since the fate of Manisha Mukherjee remains unknown, we felt compelled to imagine our own conclusion, creating a story that is both a cautionary tale and a compelling cinematic experience.”