<p>Chaitanya Tamhane is the award-winning director of ‘Court’ (2014). His second film ‘The Disciple’ just premiered at the 77th Venice International Film Festival — the first Indian film in the competition in two decades.</p>.<p>He spoke to <em>Showtime </em>about the experience of physically attending a film festival during the pandemic, the buzz around his sophomore project, and the honour of being mentored by the Oscar-winning maestro Alfonso Cuaron.</p>.<p><strong>Could you tell us more about 'The Disciple'?</strong></p>.<p>This is the story of a young vocalist who’s learning Indian classical music in Mumbai. He is initiated into this world by his father, who was also a musician. We cover his journey over three decades — how he navigates his artistic ambitions, his professional career, and survival in an ever-changing metropolis like Mumbai. A lot of traditions, practices and histories in his world have either been forgotten or are changing, and he is trying to be the perfect disciple not only to his guru, but to the values and ideals he was raised with.</p>.<p><strong>What drew you to the world of Indian classical music? </strong></p>.<p>I found this setting filled with rich histories, anecdotes, eccentric musical geniuses, people who went to great lengths and made great sacrifices to learn music, the esoteric knowledge, lost wisdom — it became a very interesting landscape for me to place the characters in. </p>.<p>Once I started listening to classical music, it spoke to me at a deep level and I realised just how powerful, hypnotic and cinematic it is. Over time I really fell in love with this world — attending concerts, stalking the social media profiles of musicians (chuckles). I travelled across the country, to Kolkata, Delhi, Benaras and other places to meet the people practising this art form. I read books and watched documentaries. After a year and a half of research and soaking it all in, slowly a script with plot and characters emerged. </p>.<p><strong>You have just returned from the Venice International Film Festival. Tell us about your experience.</strong></p>.<p>We were not sure if we would make it to Venice. The trip was riddled with suspense till the last minute, till the plane took off. We needed letters from the embassy. Once we got there, it was extremely surreal, finding ourselves in Venice — at a major film festival. It took us a couple of days to process the fact that we are around people finally, and there are films being screened again in cinemas.</p>.<p>It was a huge honour and an overwhelming feeling to screen our film at the prestigious competition in Venice. We tried to live each moment in slow motion.</p>.<p>The screening was at full capacity, the theatre only half-full because of the physical distancing protocols. The response was incredible. Most people I spoke to really loved the film and had very kind words to say about it.</p>.<p><strong>How did Oscar-winning director Alfonso Cuaron get involved with this project? </strong></p>.<p>I met Alfonso through a mentorship programme. He chose me as his protégé, and our relationship has evolved over four years. I was on the sets of his [Oscar-winning] film ‘Roma’. He knew about ‘The Disciple’ from its very genesis, when it was just an idea back in 2015-2016. He was part of the whole process — he read the script, helped me ‘crew up’ for the film, saw the rough cut. He has been a massive figure of support, an indispensable guide in putting the film out. So the executive producer credit was just a formality that was decided on later.</p>.<p><strong>Is there going to be a theatre release anytime soon?</strong></p>.<p>We’re trying our best. Right now things are uncertain, theatres are not safe to open. But we are keen to bring it to Indian audiences because they would be most receptive and sensitive to the cultural nuances, to the music that you get to see in the film.</p>.<p>It has been selected for other prestigious festivals. We just made our BFI London announcement. There will be a screening at the Toronto International Film Festival and the New York Film Festival in the main slate. But we don’t have plans to travel any more, as of now.</p>.<p><span><strong>I was blessed to follow Chaitanya’s process: Cuaron</strong></span></p>.<p>Oscar-winning filmmaker Alfonso Cuaron says young “masters” of storytelling, like Chaitanya Tamhane, are paving newer roads in cinema.</p>.<p>Tamhane met Cuaron through the Rolex mentorship programme while the Mexican director was working on his 2018 black-and-white multiple Oscar-winning classic 'Roma' and shared the idea for his second film 'The Disciple'. Cuaron was so impressed that he decided to support the film as an executive producer.</p>.<p>“Just the process of watching it come together in his mind made it something that I wanted to see. I was blessed to be able to follow his process,” Cuaron told Indiewire in an interview.</p>
<p>Chaitanya Tamhane is the award-winning director of ‘Court’ (2014). His second film ‘The Disciple’ just premiered at the 77th Venice International Film Festival — the first Indian film in the competition in two decades.</p>.<p>He spoke to <em>Showtime </em>about the experience of physically attending a film festival during the pandemic, the buzz around his sophomore project, and the honour of being mentored by the Oscar-winning maestro Alfonso Cuaron.</p>.<p><strong>Could you tell us more about 'The Disciple'?</strong></p>.<p>This is the story of a young vocalist who’s learning Indian classical music in Mumbai. He is initiated into this world by his father, who was also a musician. We cover his journey over three decades — how he navigates his artistic ambitions, his professional career, and survival in an ever-changing metropolis like Mumbai. A lot of traditions, practices and histories in his world have either been forgotten or are changing, and he is trying to be the perfect disciple not only to his guru, but to the values and ideals he was raised with.</p>.<p><strong>What drew you to the world of Indian classical music? </strong></p>.<p>I found this setting filled with rich histories, anecdotes, eccentric musical geniuses, people who went to great lengths and made great sacrifices to learn music, the esoteric knowledge, lost wisdom — it became a very interesting landscape for me to place the characters in. </p>.<p>Once I started listening to classical music, it spoke to me at a deep level and I realised just how powerful, hypnotic and cinematic it is. Over time I really fell in love with this world — attending concerts, stalking the social media profiles of musicians (chuckles). I travelled across the country, to Kolkata, Delhi, Benaras and other places to meet the people practising this art form. I read books and watched documentaries. After a year and a half of research and soaking it all in, slowly a script with plot and characters emerged. </p>.<p><strong>You have just returned from the Venice International Film Festival. Tell us about your experience.</strong></p>.<p>We were not sure if we would make it to Venice. The trip was riddled with suspense till the last minute, till the plane took off. We needed letters from the embassy. Once we got there, it was extremely surreal, finding ourselves in Venice — at a major film festival. It took us a couple of days to process the fact that we are around people finally, and there are films being screened again in cinemas.</p>.<p>It was a huge honour and an overwhelming feeling to screen our film at the prestigious competition in Venice. We tried to live each moment in slow motion.</p>.<p>The screening was at full capacity, the theatre only half-full because of the physical distancing protocols. The response was incredible. Most people I spoke to really loved the film and had very kind words to say about it.</p>.<p><strong>How did Oscar-winning director Alfonso Cuaron get involved with this project? </strong></p>.<p>I met Alfonso through a mentorship programme. He chose me as his protégé, and our relationship has evolved over four years. I was on the sets of his [Oscar-winning] film ‘Roma’. He knew about ‘The Disciple’ from its very genesis, when it was just an idea back in 2015-2016. He was part of the whole process — he read the script, helped me ‘crew up’ for the film, saw the rough cut. He has been a massive figure of support, an indispensable guide in putting the film out. So the executive producer credit was just a formality that was decided on later.</p>.<p><strong>Is there going to be a theatre release anytime soon?</strong></p>.<p>We’re trying our best. Right now things are uncertain, theatres are not safe to open. But we are keen to bring it to Indian audiences because they would be most receptive and sensitive to the cultural nuances, to the music that you get to see in the film.</p>.<p>It has been selected for other prestigious festivals. We just made our BFI London announcement. There will be a screening at the Toronto International Film Festival and the New York Film Festival in the main slate. But we don’t have plans to travel any more, as of now.</p>.<p><span><strong>I was blessed to follow Chaitanya’s process: Cuaron</strong></span></p>.<p>Oscar-winning filmmaker Alfonso Cuaron says young “masters” of storytelling, like Chaitanya Tamhane, are paving newer roads in cinema.</p>.<p>Tamhane met Cuaron through the Rolex mentorship programme while the Mexican director was working on his 2018 black-and-white multiple Oscar-winning classic 'Roma' and shared the idea for his second film 'The Disciple'. Cuaron was so impressed that he decided to support the film as an executive producer.</p>.<p>“Just the process of watching it come together in his mind made it something that I wanted to see. I was blessed to be able to follow his process,” Cuaron told Indiewire in an interview.</p>