On the other side of the spectrum, you give us a wonderful assortment of smaller characters who are relatively more progressive: With it there are other links that help in creating more awareness and action pertaining to the issue. I just wanted this to be a beautiful film. He made sure he knew everybody on set by name. I had thought it was going to be a small independent film and I wondered if this subject would translate to a mass audience. Then I wrote my first film, Shabd , and I took it to a producer. Lots of people thought we were crazy to put everything at stake. Rani, married at 13 and widowed shortly after, is about to get her year-old ingrate son married, but financial debts and personal reservations threaten to further bind her to her modest hut and a lifetime of invisibility. I tell him that he painted the film with light and shade.
I am a very instinctive writer. I find your queer reading very interesting because actually a lot of these men—even Gulab—end up with very confused sexualities. I have fun with them. I love how you flit between friendship and eroticism, loneliness and heartbreak. The research process involving talking to various different women from the villages never ended—until I shot the film. Then there was this whole gap of three years before I was married. It must have been a huge shift for him to suddenly be with this crowd of Indians. Do you use the three-act structure? Is there a more complex intertwining of human experience? I remember one day Russell looked at a scene and said that it would be so nice if this were covered by a skimmer, which is a cloth put up on poles that requires a huge amount of structuring to be done. I had my two children within the first 5 yrs of marriage. Finally, though, there were two guys not connected to the film industry. Tell us about project M. Tell us about your formative years and what led you into the direction of photography and installations. I am just making observations. HerStory spoke with Leena Kejriwal about her work and especially the M. On the one hand, there are the abusive and regressive characters, Manoj and Gulab. I realized when you are not from the culture, you are so much more observant. It is my favorite scene as well. The main thing is, I want to celebrate these women. They are silhouettes of young girls, which once they are set against the sky seem like sharp cut outs in the sky, cut outs which are doorways to black holes into which millions of girls disappear from the face of the earth! After the first couple weeks of editing, I saw him bring back things that I had removed from the three-hour cut. I learned so much from him. And he was working with an English script. We are very instinctive in India. Parched shows these women becoming courageous and moving past their self-definitions.
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