In "Tortoise Under The Earth" (Dharti Latar Re Horo, in the Santhali language), Shishir Jha presents a compelling feature film set in Jharkhand, focusing on an unnamed tribal couple portrayed by Jagarnath Baskey and Mugli Baskey. Their narrative unfolds through themes of sorrow, resilience, and optimism. Their individual grief is intricately linked to a broader loss of identity, exacerbated by the encroachment of uranium mining that forces them to relocate. The film employs a cinéma vérité style, seamlessly blending anthropological insights into their daily lives.

In a recent interview with Hindustan Times, director Shishir Jha discussed the filmmaking process, which combined organic development with deliberate narrative decisions. 

The journey of the couple depicted in the film appears deeply rooted in their reality and personal experiences. Can you share when you first met them and how this collaboration was initiated?

The narrative draws from the actual events and experiences of their lives, as well as the stories of those around them. It represents a fusion of reality and fiction, creating a hybrid narrative.

I spent approximately a year with them. Initially, for the first two months, I immersed myself in their environment without understanding their language. This intuitive approach was reminiscent of a workshop I attended in Cuba, conducted in Spanish by Abbas Kiarostami, where I also faced a language barrier. I approached cinema in a similar manner, focusing on visual storytelling and emotional resonance. This process was fulfilling for me, and I aimed to cultivate a space for such immersive experiences. My time in Jharkhand can be seen as an extension of that journey.

One of the intriguing elements of the film lies in the way it harmonizes the mythical dimensions with the stark reality of environmental degradation faced by the two protagonists. How did you achieve this equilibrium between these two aspects?

The process was remarkably organic. I aimed to avoid a rigid script for such a complex issue and did not wish to adopt a traditional approach. Addressing a topic of this nature requires substantial resources for conceptualization and writing, which we lacked. Consequently, the emergence of these themes was very natural. These matters are genuine; whether it pertains to mythology or folklore, they are embedded in the way the community articulates their experiences. The locals were eager to share their narratives, creating a rich exchange of stories and cultures upon my arrival in the community. This organic interaction became an integral part of the film.

Moreover, the photographs of their families are entirely authentic. When discussing themes of history, identity, roots, and memories, these images effectively encapsulate those concepts. This is particularly significant in light of what we are erasing and extracting; our actions extend beyond mere material extraction to encompass much more.

How did you manage the interaction with the actors, given the ongoing interplay between fiction and reality?

All the events depicted are based on reality. We had two characters, and while telling their story, the focus was not solely on events directly involving them. The narrative was inspired by real occurrences, yet we crafted a hybrid form of fiction to present it as if it were unfolding in their lives.

Similarly, I was initially unaware of the uranium extraction taking place in that area. My intention was not to create a film centered on mining. In Jharkhand, numerous individuals are impacted by this issue, and neglecting to incorporate this reality into the film would, in my view, be a disservice to those affected. It is a significant aspect of their existence and profoundly influences their lives.

The first half of the film is about community and towards the end this sense of community expands to only reflect on how it is also growing apart in a way…

The initial portion of the film focuses on the theme of community, which later evolves to illustrate how this sense of togetherness is simultaneously fraying. This was a deliberate choice on my part. I aimed to convey that understanding another individual necessitates an appreciation of their traditions, history, and culture; without this, a genuine connection cannot be established. My intention was not to narrate the story in a purely informative manner, but rather to foster an emotional bond with the characters, allowing viewers to grasp the motivations behind their actions. Their songs and cultural expressions resonated with me as a form of celebration, characterized by simplicity and beauty. I aspired to evoke a similar response in the audience.

"Tortoise Under The Earth" exemplifies the essence of independent filmmaking. In India, independent films face significant hurdles regarding distribution and adequate support. What is your perspective on this issue?

Filmmaking is a costly endeavor; however, the independent route offers remarkable creative latitude. While financial considerations are important, I prioritize the creative aspect. It is my prerogative to shape my film as I envision, which often leads to challenges in adhering to conventional norms. Consequently, many OTT platforms and distributors hesitate to support such projects.

I am pleased that Mubi serves as a platform that accommodates these narratives and showcases your work. It is crucial for films to reach the appropriate audience, and having access to the right platform is essential. Mubi's provision of diverse film types, including experimental and documentary formats, is invaluable.

"Tortoise Under The Earth" is currently available for viewing on Mubi.

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