‘Coming from Sikkim and the Himalayan region, we don’t have a well-established film industry, so funding, infrastructure, and distribution opportunities are limited. At the same time, that can be liberating.’
‘There are fewer expectations about what stories should be told, and that gave me freedom to make the film on my own terms.’
Key Points
- Tibeny Rai’s debut film Shape of Momos is a deeply personal story, though not autobiographical, drawing from her observations of women’s lives and unspoken emotions.
- Making the film in Sikkim presented challenges due to limited industry infrastructure and funding, but also offered creative freedom without external expectations.
- The cast of Shape of Momos comprises a mix of experienced and first-time actors, many from the region, contributing to the film’s authenticity.
Tibeny Rai‘s debut film Shape Of Momo, which released in theatres last week, is earning raves from all quarters.
Like our review says, ‘Shape of Momo is a compelling drama that masterfully portrays a young woman’s rebellion against societal expectations in Sikkim, offering a nuanced look at feminism, family dynamics, and the search for identity.’
Tibeny, 27, looks back at her film and tells Subhash K Jha, “There was a story I felt compelled to tell, and my approach was to tell it as truthfully and as simply as I could. If the film feels unforced, I consider that one of the greatest compliments it can receive.”
Congratulations on your impressive debut.
As a first-time filmmaker, I never set out to impress. In fact, I was quite conscious of not imposing myself on the story. The film comes from a place that is deeply familiar to me, and from experiences and observations that I have carried for a long time.
My responsibility was simply to be honest to those realities and to the characters. I have always believed that cinema can be powerful without being loud. Rather than trying to make statements, I wanted to create space for people to inhabit these lives and draw their conclusions.
So yes, there was a story I felt compelled to tell, and my approach was to tell it as truthfully and as simply as I could. If the film feels unforced, I consider that one of the greatest compliments it can receive.
‘I grew up in a house full of women’
A lot of the films feels very personal, how much of it comes from your own life?
A lot, though not in an autobiographical sense. There isn’t a single character in the film who is me, nor did the events happen exactly as they do in the story. But emotionally, the film is deeply personal.
I grew up in a house full of women, and many of the questions the film grapples with came from observing the ordinary details of everyday life.
What interests you as a filmmaker?
As a filmmaker, I am interested in the gap between what people feel and what they are allowed to express, and that curiosity is rooted in my own upbringing. For me, being personal is not just about revisiting memories, it is also about critically examining the world that shaped you.
Once you do that honestly, the story often becomes larger than yourself.
Your film reminded me of Gulzar saab‘s Namkeen. Who are your cinematic inspirations?
My early inspirations were masters like Satyajit Ray and Yasujiro Ozu. Growing up, I watched a lot of Hindi films that were telecast on Doordarshan. Later, I discovered the films of Guru Dutt, which left a deep impression on me.
At the moment, I really admire the complexities that Turkish filmmaker Nuri Bilge Ceylan explores in his films.
‘Funding, infrastructure, distribution opportunities are limited’
We don’t get much cinema, especially so sensitive, from your part of the world. Was it tough for you to make the film?
Yes, it was challenging. Coming from Sikkim and the Himalayan region, we don’t have a well-established film industry, so funding, infrastructure, and distribution opportunities are limited. At the same time, that can be liberating.
There are fewer expectations about what stories should be told, and that gave me freedom to make the film on my own terms.
The biggest challenge was simply staying committed to the project over a long period of time and believing in the story.
Tell us about the quietly credible cast.
The cast is a mix of experienced actors and first-time performers. Many of them come from the region and brought an authenticity that cannot be taught.
We spent a lot of time building trust and creating an environment where they could inhabit the characters rather than perform them. I think it is that honesty that gives the performances their quiet credibility.
‘I want to continue exploring intimate human stories’
How difficult is it for a woman director to tell a story in this part of the world?
I can only speak from my own experience, but as a woman director, there can be an added pressure to constantly prove yourself. I have felt that even during my time in film school.
At the same time, that training helped me become part of an ecosystem and community that sees creative pursuit as something determined by talent, commitment, rather than gender.
What are you working on next?
The whole process has been overwhelming. With an independent film like this, one is completely consumed by the process of making the film and taking it to audiences. I haven’t really had the time to think too far ahead.
That said, I want to continue exploring intimate human stories while pushing myself into new creative territory. Each film should challenge you in a different way, and that’s what I hope my next project will do.
Photographs curated by Satish Bodas/Rediff
