‘Santosh’ Writer-Director Sandhya Suri on the ‘Heat’ and ‘Straw Dogs’ Moments in Her Crime Drama Debut: ‘I Was Keen Not to Do Something Too Happy About Female Solidarity’

As a filmmaker hailing from a different cultural background than the one portrayed in my latest work, I find myself constantly grappling with the delicate balance of authenticity and creativity. My journey in making “Santosh” was indeed a long and arduous one, spanning over a decade. But it was this very upbringing outside of India that fueled my curiosity and drive to delve deep into the world I sought to portray on screen.

To numerous global viewers, the storyline of the Hindi-language drama “Santosh” – where a widow assumes her deceased husband’s role as a policeman – might appear unrealistic or contrived.

For her first narrative feature film, Sandhya Suri – a British-Indian director – delved into Indian law, specifically the concept of “compassionate grounds” that allows a dependent of a government employee to take over their job after death. In this movie, Shahana Goswami portrays a fictional character who is investigating the murder of a young girl under the supervision of a mysterious female superior (Sunita Rajwar). The film then unfolds as a powerful, unyielding depiction of one woman’s struggle to navigate personal ties and professional circles within a broader sociopolitical setting traditionally ruled by men. This film initially garnered attention at Cannes and later won recognition at Camerimage and other festivals.

Prior to the movie “Santosh” hitting theaters in New York on Dec. 27 (and opening in Los Angeles on Jan. 10), Suri discussed her motivations – both official and unofficial – for the film in a sit-down interview in Los Angeles. According to Suri, who spoke with EbMaster, the primary objective was to create a crossover film. By this, she didn’t mean a commercial piece of art; rather, it was intended to appeal equally to audiences in India and the West, from its inception through every subtitle and line of dialogue.

How did you first come up with the idea for “Santosh”?

As a movie critic embarking on a unique cinematic adventure, I found myself granted an “appointment on compassionate grounds,” serving as the catalyst for my story. My aim has always been to craft a film revolving around the intricate relationship between a mentor and protege, delving into spiritual connections. However, I yearned to subvert expectations by portraying this bond between two women, eschewing overt depictions of female camaraderie.

What collaboration did you have with Shahana and Sunita to define Santosh and Geeta?

It was essential for me that they would commit to spending time with the police for our project. After years of trying to secure this access, I wanted them to witness firsthand what I’d discovered in my own research. We’d spend our days collaborating on research and hanging out, then evenings working on the script. It was a process of experimentation — Sunita tends to have a more compassionate, hopeful perspective, so we had some disagreements, which I believe added just the right touch to the overall tone.

The film never pauses to explicitly comment about the patriarchal society in which Santosh and Geeta operate, but when you’re writing a story like this, to what extent are the norms of the culture that’s surrounding this sort of a fait accompli?

In a straightforward and conversational manner: I dislike overtly preachy filmmaking, whether it’s from documentaries or otherwise. My films have never been advocacy pieces. Although the movie delves deeply into topics like misogyny, patriarchy, and caste discrimination, these themes serve as a reflection of societal fabric for me. I wanted to depict a gritty urban environment in northern India, a place that resembles a “Straw Dogs”-like setting, where the characters and issues are so ingrained that they seem normal. Therefore, my aim was to maintain a subtle approach, making it easier for the audience to comprehend how violence can be cultivated when someone finds themselves in such challenging circumstances.

How explicitly did you conceive those homoerotic undertones in terms of the action and the story?

In the movie, it was primarily Geeta’s actions and motivations that captivated me. Towards the end, her selfless act for Santosh left me somewhat astonished, as her character seemed to suggest a level of naivety or fantasy in performing such an action solely out of mentorship. However, the intensity of emotion and the decisive nature of her actions led me to believe that there was something deeper driving her. I felt it must have stemmed from a profound love for Santosh, though its nature remains somewhat elusive. Furthermore, I sensed that Geeta’s position within the Indian police force left her feeling isolated, yearning for any form of intimacy so intensely.

How did you reconcile the differences between validating Santosh’s pursuit of justice for this murdered girl and a sense of, “Forget about it, Jake, it’s Chinatown…” at the end?

In the initial stages of my script development, I only produced a few drafts. However, it was at the Sundance Lab where I introduced Version One. I had exceptional mentors there, including Zack Sklar, a renowned writer from “JFK”, and many others who were highly influential in procedurals. Some of these mentors posed thought-provoking questions such as, “Why doesn’t she just go stab him?” or suggest actions that might provide closure. Yet, I knew that such an action was out of the question for my protagonist.

This movie manages to be beautifully empathetic to both Santosh and Geeta’s perspectives. How difficult was it to understand each of their world views to tell the story with balance and nuance?

In simpler terms, the filmmaker found Geeta’s character challenging to understand. He had hoped to clarify her motivations and beliefs during the writing and filming process, but even after finishing the movie, he still questions whether she truly believes her own words or if there’s a bigger plan at play. The character seems complex and mysterious, leaving the filmmaker wondering if Geeta herself is unsure about what she truly believes.

How much did the distance from this material, imposed by you not living in India, enable you to feel like you could be more honest in telling this story?

Living outside heightens your awareness twice as much, which is why the movie took a decade to produce. I needed firsthand experience to observe accurately before directing it. If I hadn’t been able to do that, I likely wouldn’t have made the film because I wouldn’t have felt secure in its authenticity. Therefore, caution is necessary. I share this same sense of care when India appears on screen. If I perceive it’s not being treated sensitively, I become concerned. It doesn’t mean I believe only Indians or people of color should make it; rather, I value a particular sensitivity, integrity, and an avoidance of cynical representations.

How emblematic is this film of the stories that you want to tell in the future?

I don’t have a strategic approach, which has likely influenced my career trajectory. I find myself working on projects that resonate deeply with me, given their lengthy production process and high level of commitment required. Interestingly, I happen to be working on a project set in the West now, and it’s a dystopian love story derived from J.G Ballard’s novella. I’m attracted to stories that offer an opportunity for deep character exploration, yet allow me to apply precision and rigor in their execution. My next project features a male protagonist.

There’s a school of thought that believes if storytellers are from — or telling stories about — a marginalized community, everything should be portrayed with exacting accuracy, meaning that performers from a certain region shouldn’t play characters from a different region, for example. Given your upbringing outside of India, to what extent have you felt that you have to consider that as you’re making films?

In my opinion, if I had doubts about creating “Santosh,” it’s because as documentarians, we frequently step into other people’s lives, making research crucial. While J.G. Ballard might be an exception due to his dystopian works, the essence remains the same: it’s about thorough research, respect, and building relationships within a community. I was apprehensive about releasing this film in India since I reside outside of it and the film offers a strong critique. However, the overwhelmingly positive response regarding the film’s authenticity has made me feel vindicated. Ultimately, I advocate for thorough research and telling stories from the correct perspective. Regardless of gender, anyone can tell any story.

You said this was a 10-year process to completion. How much has completing this lit a fire to work with more frequency or more speed?

For your next project, you can expect a shorter timeline compared to the last one. The point here is that your initial effort should be recognized as your starting point. The charm of this piece lies in its innocent tone. After composing “The Field,” which I wrote subsequent to this and sandwiched in between, all parts were crafted during the Magic Hour, due to my lack of experience. On set, I was ecstatic, exclaiming, “Wow, it looks fantastic!” However, behind the scenes, it was quite challenging. As for this new piece, it includes action sequences, stunts, and no less than 76 speaking roles… By the time I completed it, I came to understand that such a complex project is quite bold for a first feature film.

Initially, when I penned this down [in 2014], there was scarcely any story available, if at all, featuring female police officers in India, save for one titled “Mardaani”. However, by the time I managed to bring my project to fruition, a multitude of stories about female cops had surfaced. This left me contemplating, “Should I rush this because it’s all out there now?” But then I thought, “Well, if many filmmakers face similar situations, what can I do differently?” So, instead of rushing, I decided to focus on making the narrative as accurate and detailed as possible to make it stand out.

2024-12-26 20:17