Focus on AFI Conservatory - Kanavu
A young woman connects to her ancestry and culture through discovering a garment belonging to her grandmother.
Interview with Writer/Cinematographer S. Lakmé Iyengar
Congratulations! Why did you make your film?
This story touches on the idea that tangible objects from the past reconnect us to history and where we come from. I’m a first generation Indian-Australian, and like anyone that has grown up between two cultures, I have spent much of my life trying to bridge this cultural gap and find where I belong.
A way that I have connected to my heritage is through wearing the sari, a garment that is a rite of passage for the women in my family. It's a one size fits all piece of clothing that can be passed through generations. That positive association with my culture was what I wanted to evoke with this film.
Imagine I’m a member of the audience. Why should I watch this film?
This film is about wanting to reconnect back to one's roots and history. I've witnessed people who grew up in a cross cultural environment like myself rejecting their heritage or viewing it as alien because Western rhetoric and values are so dominant in our society. I want that negative association to go away. I wanted to craft something that shows how beautiful it is to accept all aspects of your identity, and that is an idea that we can all relate to.
How do personal and universal themes work in your film?
Even though this story is very personal to my own experience, there is universality in the idea of identity and beginning the journey to becoming one's true self. We are all on a path to find out who we are, no matter what background or circumstances you come from. I also wanted to touch on the idea of reconciliation; this film is a reconciliation of two different cultures and I hope it resonates with others that have also gone through this experience or can empathize with it.
How have the script and film evolved over the course of their development?
This project was in development for over a year due to the pandemic. The original story I wrote only had two characters (the mother and daughter) with the suggestion of another woman's presence, but I was encouraged by the cinematography faculty at AFI and my director Duran Jones to try write a version which had three characters. I'm glad we went that route; the film would be very different otherwise.
Since we shot this project on 35mm film, we were very meticulous about shotlisting and being as practical as possible. At the end of our last shoot day, we actually had leftover film and decided to shoot a fun dance scene with our actors. It ended up becoming a part of the final film, so it goes to show that sometimes the most unexpected and impromptu ideas that happen on set end up being the best ones.
What type of feedback have you received so far?
The feedback so far has been very positive. People are resonating with the themes of the film and are really enjoying the use of color in the design and costuming. I've also had multiple people tell me how much they loved the music; our composer Aks did an amazing job and his contribution really added to the experience.
Has the feedback surprised or challenged your point of view?
I'm very critical of my own work, so I made this project knowing that other interpretations of the story could be different to mine. I've had conversations about how others have perceived the relationship between the three women in this film, and I find it very fascinating when they bring a completely different perspective to the table. Everyone's interpretation is valid.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I would love more people to get to hear about this project and hopefully watch it soon. We are Moving Stories champions women in film and diverse stories, so this feels like a great platform for people to learn more about Kanavu.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Festival directors, distributors, buyers and journalists are incredibly helpful when it comes to helping a film gain a wider audience. The opportunity to connect with people on the festival and distribution side of things who believe in this project and its message is definitely my hope.
What type of impact and/or reception would you like this film to have?
I hope people watch this film and are either smiling or crying by the end (or maybe both). My wish is for it to be seen by people who have first hand knowledge of the complexities of the immigrant experience but I also welcome people who may not have that experience to also share in its universal themes of identity and family.
In terms of impact, I hope that by having more people from minority backgrounds behind and in front of the camera, we can continue sharing our stories and our diverse array of experiences. This film is representative of my story, but there are so many more untold stories that I hope make it to the screen in the future.
What’s a key question that will help spark a debate or begin a conversation about this film?
What does it mean to connect to your culture?
Would you like to add anything else?
This project could not have been made without the incredible work of all our collaborators who helped us from pre production all the way to post. I'm very grateful to every person whose hands touched this film (both literally and figuratively!).
Interview: November 2021
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
Kanavu
Length:
3:09
Writer/Cinematographer
From Sydney, Australia, LAKME IYENGAR is a cinematographer whose passion for film started with still photography. She completed her BA in Media and Communication at the University of Technology Sydney and moved to Los Angeles in 2019 to pursue her MFA at the American Film Institute, where she shot numerous short films and further honed her skills. Lakmé is passionate about telling stories about people from diverse communities and backgrounds with an honest and truthful approach.
Director
Duran Jones
Producer
Venk Potula, Nagee Brown
Key cast:
Anika Kokatay (Vidya), Sharayu Mahale (Indra), Mita Vyas (Malini)
Looking for:
distributors, film festival directors
Instagram:
Hashtags used:
More info:
www.lakmeiyengar.com
Made in association with:
AFI Conservatory