How Covid changed rules of filmmaking

Malayalam film 'C U Soon', India's first computer screen film, was shot mostly inside an apartment.  

The break forced by the pandemic made Rishab Shetty restless last year. The urge to create content, despite constraints, gave birth to ‘Hero’, an action-adventure film laced with dark comedy. It has the distinction of being the only film made during the pandemic among the Kannada releases this year.

When the pandemic brought everything to a standstill, many Indian filmmakers wondered how to keep the show going. They had to make films indoors, and with minimal resources.

The Malayalam film industry emerged the runaway winner, having produced eight films since last year. The likes of 'C U Soon', 'Love', 'The Great Indian Kitchen', and 'Joji' were shot at one or two locations (mostly inside a house), and had just a handful of main characters. The Telugu industry produced four box-office hits ('Krack', 'Jathi Ratnalu', 'Vakeel Saab' and 'Uppena') to remain almost untouched by the pandemic. But the Kannada industry did not look beyond conventional methods of production and distribution.

“If we don’t compete with other industries, people will forget us,” Rishab, who starred and bankrolled ‘Hero’, tells Showtime. “The ‘star films’ are never under threat. So people who make experimental films must focus on promotions.”

In recent months, Netflix has produced anthologies in collaboration with the Tamil (‘Paava Kadhaigal’) and Telugu (‘Pitta Kathalu’) industries. Amazon Prime Video launched the Tamil anthology ‘Putham Pudhu Kaalai’. So why have OTT platforms cold-shouldered the Kannada industry?

“If you don’t have a stall in the market, where will you sell your product?” says Hemanth M Rao, director of ‘Godhi Banna Sadharana Mykattu’ and ‘Kavaludaari’.

“The OTT platforms aren’t open to collaborating with the Kannada industry,” he says. He is quick to point out a reason. “Also, our quality of filmmaking must improve.”

The Malayalam industry is among the few that have cracked the OTT code. “The sheer number wanting to make unique content is huge in Malayalam,” says Hemanth.

“In Kannada, we need at least 30 filmmakers to be brave and tell interesting stories without thinking too much. And our own people must consistently consume our content. Only then will OTT platforms be keen on working with us,” he observes.

The industry, traditionally, has fallen short of generating stories with universal appeal, points out Jayathirtha of ‘Beautiful Manasugalu’ and ‘Bell Bottom’ fame. “It’s not wrong to cater to fans of superstars. But if you don’t take risks and do diverse projects, the industry’s visibility will not grow,” he says.

OTT platforms respect filmmakers with a difference, he reckons. “Pawan (Kumar), and I received offers from Aha Video, the OTT platform for Telugu films. While he has finished his project, mine is at the scripting stage. Even B M Giriraj (of 'Jatta' fame) has got opportunities to make content on OTT in the past,” he says. Recently, Dayal Padmanabhan remade his 'Aa Karaala Ratri' in Telugu for Aha.

Jayathirtha adds that OTT platforms exclusively for Kannada could help the industry, and people have begun work towards forming them. But a drastic change will take time, stresses the director.

Some Kannada filmmakers are open to adapting. Jayathirtha was ready with ‘Banaras’, a love story with newcomer Zaid Khan and actor Sonal Monteiro. But when Covid disrupted his plans, he became part of an anthology, along with Yogaraj Bhat, KM Chaitanya, Pawan Kumar and Shashank. “These were shot during the lockdown. Yogaraj Bhat and Pawan’s films are yet to be shot. It's an interesting project,” he says.

Akash Srivatsa was planning a sequel to his hit film ‘Shivaji Surathkal’ when the pandemic broke out. After waiting for a bit, he collaborated with Chandra Mohan, Raghu Shivamogga, Kiran Kumar and Guru Deshpande for the anthology ‘Pentagon’.

“I shot it with a 12-member crew. It was really difficult and risky. But we have to adapt to a new style,” he says.

Bollywood has approached him to remake ‘Shivaji Surathkal’. "I am optimistic about it because a major part of the film takes place at a resort. For some time, one-location films will be the norm,” he says.

Another Kannada film shot during the pandemic was ‘Ikkat’, a comedy about a couple at loggerheads caught indoors during a lockdown. To be presented by Pawan Kumar, it is ready for release.

With talk of a third wave of the pandemic, filmmakers should think differently, says Hemanth, who has completed the first schedule of his third film ‘Saptha Sagaradache Ello’ (SSE), starring Rakshit Shetty.

“If the pandemic doesn’t relent, I might come up with something,” Hemanth says. Rishab, who has acting and direction commitment, is ready to adapt again. "If the situation doesn't improve, I will come up with a script that can be made on a small-scale," he says.