Lunch with Counterfeit Kunkoo
An interview with Reema Sengupta, director of Counterfeit Kunkoo
How did you decide to direct Counterfeit Kunkoo?
I had written the script for Counterfeit Kunkoo a few years ago when my mother had to face housing discrimination while trying to find a house to rent. In February 2017, I decided to make the short film because I felt it was a story that needed to be told at the earliest. I had been working on advertising projects for three years straight, I really needed a passion project to feel more connected to why I became a filmmaker.
Did you write Counterfeit Kunkoo as a whole at first or was it part of a bigger story?
It was written as a short film. When I picked it up again last year, I re-wrote some parts of it which I felt were a bit naively written.
How did you get the inspiration for that violent and disgusting husband?
I have had the unfortunate displeasure of knowing several such misogynistic men who have treated their wives like child-bearing slaves. They are all around us – fathers, uncles, acqauintances. I wish that the husband’s character was just something that emerged from a dark corner of my mind, but it is something very pervasive in Indian society.
How complicated is life for single women nowadays in India? Is it also that complicated to buy a car or even a train ticket?
The perspective and gaze of the society changes the moment they know that a woman is separated or divorced. I’ve known so many women who choose to stay in abusive marriages rather than face the prejudice in store for them after separation. It is a sad reality. Housing discrimination however, is not limited to women. I’ve seen people be discriminated against because of their religion, caste, occupation and even food preferences. Thankfully, it doesn’t pervade into things like buying a car or a train ticket. Needless to say the discrimination is more often than not subliminal and always illegal.
How much are you interested in the question of building up your own destiny and do you plan further films on this theme?
I am very interested in the question of building one’s own destiny – and of being given the opportunity to have your own independent identity. As a society we are reeling from centuries of gender based oppression. Only very recently have young women filmmakers started being celebrated, and we see more female protagonists than previous years. The more we speak about these things, make films to incite empathy and evolve perspectives, the sooner we can hope for a world where we wouldn’t need to do so anymore.
What sort of freedom would you say the short format allows?
With short films, especially if you have put in the money yourself, you enjoy a fierce sense of creative freedom. You can truly push yourself to find your voice, instead of worrying about market-value and financial recuperation. Everyone understands that short films are all about the hustle and are more forthcoming with help and support.
If you’ve already been to Clermont-Ferrand, could you share with us an anecdote or story from the festival? If not, what are your expectations for this year?
I’m so thrilled that our European premier is at the world’s largest and most prestigious short film festival. We’re also very proud to be the only film representing India at the festival. I’m looking forward to meeting exciting filmmakers from all over the world and hope to begin creative relationships that will inform the coming generation of filmmaking in the world.
Counterfeit Kunkoo is being shown in International Competition I12.
