‘I Have Electric Dreams’ by Director Valentina Maurel explores complexities of family relationships

The film neither idealises nor condemns the complexities of relationships: Nicolas Wong

"This is a film that explores the passage into adulthood, which is a process that is not just about getting older. It is a process that is so profound that sometimes it can break people in a certain way. The film is much more complex than a mere coming-of-age story", said Nicolas Wong, Cinematographer of the film I Have Electric Dreams, while addressing an 'IFFI Table Talks' session at the 53rd edition of the International Film Festival of India (IFFI) in Goa.

Being a portrayal of modern-age Costa-Rica’s culture and difficulties of adulthood, Nicolas said that the film can help people identify with stories from the other side of the world and at the same time connect with family values or feelings that are universal.

In telling Eva, the protagonist's story, Nicolas asserts that Director Valentina Maurel tries to present an honest portrait of the complexity of life, free of moral judgement. "Without passing moral judgement, the Director tries to bring the audience to examine their own positioning in such complex relationships through this film", said Nicolas Wong

When asked about the message the film will convey for the young generation, Nicolas stated that the film explores all the different shades of love and complicated aspects of growing up. Another key theme the film delves into is dealing with disparities in power dynamics with people you love. On the casting of Daniela Marin Navarro, 19 year old newcomer actress who played the protagonist ‘Eva’, Nicolas remarked that she has a very deep understanding of the screenplay and the character. ‘It came just naturally with her. She was very calm and wise’, he said.

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“There are only two Gods worth worshipping – chance and light”: Veteran cinematographer Anil Mehta

These were the maxims shared by National award winning cinematographer, writer, actor and director Anil Mehta as “axioms that define the life of a cinematographer”

Swati Bhat

Chairing a masterclass titled ‘Guiding Lights’ in the side-lines of the 53rd International Film Festival of India (IFFI), Anil Mehta explained images are what appeal cinematographers. In practice, cinematography is guided by vagaries, chance, interpretation and individual choices, he said.

Mehta’s well-known projects include Lagaan (2001), Saathiya (2002), Kal Ho Naa Ho (2003), Veer-Zaara (2004), Kabhi Alvida Naa Kehna (2006) and Ae Dil Hai Mushkil (2016).

The languages of a cinematographer are different, he said. Getting caught at the quantity is not really cinematography, feels the veteran cinematographer.

What is his most valuable advice to future DoPs? “You should start your conversations with the director in an open manner and it is mostly about listening. Cinematography is also about listening, though it feels like a job where you talk to a lot of people, marshall your resources and get things done”, answered Mehta.

On virtual production in India, Anil Mehta commented, “We have not yet done enough work on it to know where it will go.”

Mehta explained the DoP point-of-view of some of his famous projects like Khamoshi, Badlapur and Sui-Dhaga. Some thought-nuggets that he shared with budding cinematographers/DoPs:

• A DoP should try to think about how to place the camera from the day he or she starts reading the script

• Anil Mehta personally doesn’t like to make a storyboard

• If you have a sense of scene and know what to play, then your work is half done

• Rhythm of the shot is something that the cinematographer can only feel

• Very often shots emerge while filming

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Want viewers to be part of my cinematic universe: Filipino Director Lav Diaz

When the Waves are Gone directed by Filipino auteur Lav Diaz is a contender for Golden Peacock award in the International Competition Category at the 53rd International Film Festival of India. A dark, protracted tale of revenge and crushing cycles of violence, When the Waves are Gone had its premiere at the Venice Film Festival 2022. Shot in black and white on 16 mm film, it documents the ‘narco wars’ unleashed by the police in the name of ‘cleansing’ the society, which resulted in many extra judicial killings. Speaking with media and delegates at IFFI Talks organized by PIB on the sidelines of the film festival, Lav Diaz, popularly known as the ‘Filipino master of slow cinema’ said that he wants his viewers to be part of the cinematic universe.

Adding more details, Lav Diaz said that he doesn’t manipulate the audience and just wants to be an observer. “People who are into my cinema negate the divide between screen and viewer. They are part of the cinema. Immersive process is completed with the long shots and the long duration”, he added.

Lav Diaz criticised the approach of Hollywood films where everything is subordinated to the lead actor. “Those films follow the movement of the lead actor till the end. You don’t see life. In my films, you will notice trees, birds, people walking and life in all its manifestations,” he said.

Lav Diaz’s films are notable for their long duration. Evolution of a Filipino Family lasted for around 11 hours while The Woman who Left is 3 hours and 48 minutes. When the Waves are Gone which was screened yesterday at IFFI also clocked 3 hours and 7 minutes. Justifying this long canvas he chooses for his films, Lav Diaz said that the concept of 2 or 2.5 hours films is imposed by capitalism and business. He further said that cinema is a free form of expression for him.

“For me cinema is more of a cultural activity and art form. I want to express myself, I want to represent my culture. I want to examine life through my cinema. I want to make cinema the way I want to, ” he explained.

Tracking the genesis of the movie, Lav Diaz said that When the Waves are Gone started as a gangster movie seven years ago. ‘’Failure to find actors and budget led to delay’’. He added that he pushed the film to the producers in another way three years ago as a kind of reaction to the human rights violations happening in Philippines in the name of war on drugs.

So, considering the long duration, one might wonder does Lav Diaz actually have an editor for his films? Replying to this question, he said that he edits the film himself. “My shots are long. I just connect them. It’s hard work actually. You should find the rhythm and measure them by beats. There is a rhythmic process to editing. As a musician, I can do it”.

Role of music in the making of film? Lav Diaz is of the opinion that music is indeed another element in his film. “You can include poetry, music, movement, dance and the whole universe in films. Cinema has the power to encapsulate life,” he pointed out.

Though cinema as a medium is sometimes too late in chronicling life events and truth, Lav Diaz still exuded confidence in the power of cinema to bring about change. The Director also expressed his love for Indian films by Mani Kaul, Satyajit Ray and Ritwik Ghatak.

Most of the reviews on When the Waves are Gone described the film as a loose adaptation of Alexandre Dumas’s ‘The Count of Monte Cristo’. But Lav Diaz made it clear that he didn’t think of ‘The Count of Monte Cristo’ while making the film though he drew literary influences from the works of Russian authors like Leo Tolstoy and Fyodor Dostoevsky.

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