Khanjan Kishore Nath is a national award-winning filmmaker from Assam. ‘Ata Nirjon Duporiya’ (A Midday without a Name) is his second feature film which is going to be released on March 1 this year.
The film revolves around a day-to-day incident involving a couple in love, Nayan and Aditi, who seek private moments together. Their plans to spend time in a friend’s room are thwarted, leading them to try booking a hotel room online, only to face rejection. Their encounter with Laden, who eventually secures a room for them, sets off an unforeseen chain of events.
Starring actors such as Kaushik Nath, Parvi Baruah, Dhanjay Debnath, Jitumoni Mahanta, and Bijay Sankar Saikia, the film boasts cinematography by Jaynath Sethu Mathavan, and sound design and mixing by Debajit Gayan, both distinguished figures in their respective fields.
Khanjan’s debut feature, ‘The Bicycle’ (Chor), garnered attention at various film festivals, while his script ‘Why the Blue Hill is Crying’ earned him recognition at the Asia Pacific Script Lab in 2019. Notably, he clinched a national film award in 2020 for his film ‘The Boy with a Gun.’
In anticipation of the film’s release, Khanjan Kishore Nath shared his insights with The News Mill, shedding light on the themes and motivations behind his latest cinematic endeavour.
Some of the excerpts:
Q: Your film, ‘Ata Nirjon Duporiya’ (A Midday without a Name), has been granted an A certificate due to its intimate scenes and disturbing dialogues, which are integral to the script. Can you elaborate on this decision and its importance to the film?
A: Certainly. Our film delves into intimate moments and features dialogue that reflects the raw reality of the narrative. The censor authority deemed these elements deserving of an A certificate. However, these scenes and dialogues aren’t gratuitous; rather, they are essential components of the story’s authenticity. While some criticism has been directed towards these aspects, I stand firm in my conviction regarding their necessity for the film’s integrity.
As filmmakers, our responsibility lies in accurately portraying reality on screen. When depicting intimate scenes, we tread a delicate line between authenticity and vulgarity.
Q: Your film touches upon the issue of society’s failure to respect individual privacy, particularly affecting women. Could you shed light on the storyline and its relevance to societal norms?
A: The narrative of ‘Ata Nirjon Duporiya’ reflects a commonplace scenario but is portrayed in a unique light. It resonates with the audience as it mirrors experiences that many can relate to. This story isn’t isolated; it’s everyone’s story, a reflection of the challenges individuals face daily.
Moreover, our society’s tendency to judge and mistreat women persists, showcasing a disturbing continuity from ancient times to the present.
The society has a sadistic mindset to molest women all the time. This is not new. If you take the example of Mahabharata, we know how Draupadi was molested.
So the mindset of society has not changed much. We worship a lifeless statue in the name of a goddess. At the same time, we are ready to molest women. This is the contradiction.
Q: Do you envision your film serving as a catalyst for societal reflection and change, particularly regarding the treatment of women?
A: While I hesitate to label my film as an outright ‘eye-opener’, it undeniably prompts introspection and sparks dialogue about our societal values, particularly concerning women’s status in a male-dominated environment. By confronting uncomfortable truths, ‘Ata Nirjon Duporiya’ compels viewers to reconsider their perspectives and confront the systemic injustices that persist in our society.
