Nepal’s ‘Pooja, Sir’ Defeats Cancer to Make Venice Debut (EXCLUSIVE)

As I reflect on the remarkable journey of Deepak Rauniyar and Asha Magrati, I am nothing short of inspired by their indomitable spirit and resilience. Their tale is not just about the making of a film, “Pooja, Sir,” but it is a testament to the power of love, determination, and the unyielding will to create in the face of adversity.

As Deepak Rauniyar, a notable Nepali filmmaker, and actress Asha Magrati were getting ready to film their upcoming production “Pooja, Sir” in 2022, they encountered an unforeseen challenge.

Initially, Magrati’s wife and frequent collaborator, Rauniyar, experienced an alarming swelling in her throat while they were in New York. This issue gradually escalated into multiple cancer diagnoses, putting not only their upcoming film at risk, but also Magrati’s life itself.

“Rauniyar reminisces that we had gone to Frontieres too, which is the film market in Montreal. There, we were promoting another project. However, upon our return to North Carolina where Rauniyar was teaching, we found ourselves in a desperate rush to find medical assistance,” (paraphrased version)

“I found it challenging to secure doctors due to their non-urgent perception of the situation,” I admit. “We wrestled with this issue, as everyone had already booked their tickets to Nepal and we were all set to film. Thus, we found ourselves at a loss.”

On August 29th, 2022 – Magrati’s birthday – the initial diagnosis was made. A week following this, another diagnosis arrived. In all, Magrati was diagnosed with three distinct forms of cancer, leading to an indefinite halt in production. The troubles multiplied rapidly. Their investor vanished, thinking that the project would remain unfinished. Deadlines for grants were missed, resulting in their loss. Due to Magrati’s treatment, the couple moved to New York and spent nearly a year there.

“In between, she also lost her father,” Rauniyar adds.

By April 2023, near the end of Magrati’s treatment, the couple found themselves at a critical juncture. Rauniyar openly acknowledges his hesitation about returning home and dwelling on their ordeal. The primary concern, however, was how Rauniyar’s partner could manage that difficult situation while maintaining her role, and how they could secure funding for the film, as no one seemed to share their perspective at the time.

Unwavering, they turned to their network for assistance. Three acquaintances, one of whom was a doctor, initially supplied funds. A Nepali film production company, Baasuri Films, offered local assistance in Nepal. Their director of photography, Sheldon Chau, agreed to purchase camera equipment and delay payment. Actors and staff joined the project, frequently working at discounted rates or postponing compensation.

The initial small donations gradually grew, enabling the project to think about filming. Later, the Norwegian Film Institute’s Sorfond, Torino Film Lab, and the Berlinale World Cinema Fund all became involved in providing funding for the production.

Titled “Pooja, Sir,” this film explores the deeply ingrained caste system in South Asia, with a strong focus on skin color. The narrative follows Pooja, a fair-skinned Nepali police officer who has shattered centuries of misogyny by becoming the nation’s first female detective. Amidst tens of thousands protesting against systemic discrimination towards the dark-skinned Madhesi community in a border town, two fair-skinned boys are kidnapped with an unattainable ransom demand. With just 48 hours to rescue the boys and limited clues, Pooja must act swiftly. A hard-nosed, no-nonsense officer, she is compelled to enlist the aid of Mamata, a vocal, feminine Madhesi policewoman with dark skin.

For Magrati, the physical toll of cancer treatment was compounded by the emotional weight of feeling unprepared for a role she had been developing for eight years. “I couldn’t prepare as much as I wanted, and I couldn’t do the physical police kinds of exercise, and we didn’t have that much time to prepare my dialogs and dialects,” she explains. “It’s not my excuse, but I feel sad for that, because it is my dream project.”

During the filming, the side effects from Magrati’s prolonged hormone treatment added extra difficulties because her medication, tamoxifen, caused her hormonal fluctuations that felt quite overwhelming, as she puts it.

Regardless of these obstacles, Magrati’s resolve remained unshaken. “She didn’t hesitate, she agreed,” Rauniyar recounts about her choice to travel to Nepal for the shoot. “I wouldn’t have had the courage to go and take on such a demanding role,” Rauniyar adds.

Filming “Pooja, Sir” in Nepal’s Madhesh Province during July, when temperatures soared to a scorching 44 degrees Celsius (111 Fahrenheit), was no walk in the park. However, this demanding environment took on a deeper significance for directors Rauniyar and Magrati as they faced their own personal trials. They found that the process of making the film enriched their understanding of the characters they had conceived, fostering an even greater sense of compassion towards them.

In the heart of the movie, the main protagonist Pooja, a queer police officer portrayed in Nepal, is based on genuine experiences encountered during the research process. As Rauniyar expresses, discussing queer characters within law enforcement is seldom seen in our region. Therefore, when we chose to produce a film about this topic, it felt authentic and pertinent. Our aim is to spark dialogues, hoping that it will encourage meaningful conversations.

For Rauniyar, this experience further emphasized the timeliness of the film’s themes. Topics like race and queerness are becoming more significant worldwide, in his opinion. “These issues are prevalent everywhere,” he notes, pointing out similarities to racial strife in the U.S. and recent unrest in the U.K. “Unfortunately, we from South Asia, we rarely discuss race, and often fail to acknowledge that we have our own racial issues.”

“Our tale is our personal narrative, and whenever we step out or travel, some lighter-skinned individuals speak ill of Rauniyar, mistreat him. It’s painful to witness. I strive to challenge this behavior everywhere I go. This story needs immediate attention, so people can understand our actions, whether intentional or not,” Magrati states, emphasizing the urgency and importance of sharing their experiences.

With “Pooja, Sir” gearing up for its debut in the Horizons segment of the Venice Film Festival, directors Rauniyar and Magrati are eagerly planning their upcoming ventures. They’re currently working on a chilling horror movie set in New York City and another compelling feature film based on the true account of a Nepalese immigrant living in the U.K.

Currently, their primary aim is to distribute “Pooja, Sir” globally, as it has previously been acquired by several territories.

2024-08-29 10:19

Nepal’s ‘Pooja, Sir’ Defeats Cancer to Make Venice Debut (EXCLUSIVE)

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