4th June 2023,Mumbai: Kanu Behl, a renowned director, is well-acquainted with the enchanting French Riviera. His directorial debut, “Titli” (2015), garnered recognition in the Un Certain Regard program at the Cannes Film Festival.
This year, he returns with his latest film, “Agra,” which premiered at the esteemed Director’s Fortnight. Behl’s films consistently delve into the honest exploration of patriarchy, generational trauma, and their profound impacts, be it in his feature films or his short film “Binnu Ka Sapna” (now available on Mubi).
As we settle down for a conversation, Kanu Behl elaborates on his works. He reflects, “Titli was undoubtedly centered around the dynamics of a family. In ’Agra,’ I wanted to delve into the physical environments we inhabit and how they intertwine with one another, as well as the theme of sexual repression. The male gaze prevalent in patriarchal cultures restricts the ability of young males to express themselves. When we witness extreme and abhorrent behavior from these individuals, our immediate reaction is to despise them. However, we never truly witness their journey or understand what triggered their actions. unless we address the underlying causes, we cannot fully resolve this issue.”
Despite the immediate association of “Agra” with the pristine Taj Mahal, the renowned landmark does not find a mention in the movie. Instead, the story unfolds within the confines of a small dilapidated building. In this setting, Guru, a 25-year-old contact center worker, grapples with his suppressed emotions. Guru resides on the first level with his mother, while his father and his mistress occupy the room above. The small balcony that Guru claims becomes the only “space” that offers any semblance of openness. Behl adds, “In this house, although many people live together, they never truly interact as a family. Guru is struggling to comprehend his own sexuality, longing for genuine physical connection, and the refusal of the other lustful individuals who share his space to fulfill his desires. I wanted to explore the transactional nature of our relationships today.”
While “Waiting” was a deeply personal project for Kanu Behl, he admits it was also a challenging film to make. Together with Atika Chauhan (Margarita with a Straw), he grappled with understanding the character of Guru. Behl shares, “I questioned whether I truly knew Guru. While growing up, I experienced sexual repression myself, but I was also aware of my privilege. Molly Stensgaard, my mentor during the PJLF Three Rivers Residency, encouraged me to either change the subject entirely or express my unfiltered thoughts. To intensify my own denial, I spent considerable time on sex chat forums, attempting to understand and simulate Guru’s feelings.”
The casting process stands out as one of the movie’s greatest assets. Behl emphasizes, “The character of Guru was written specifically with Priyanka (Bose) in mind. I wanted someone who didn’t possess a physically dominating presence. We sought an actor with an inherent innocence, someone who could evoke empathy even when engaged in the most abhorrent actions. Mohit Aggarwal was a perfect fit.” Rahul Roy, renowned for his role in “Aashiqui,” was reportedly chosen by Behl himself. “We collaborated with two to three other actors. My method involves a three-month workshop for the film, where we explore different alternatives for each role. We come together as a team to select what feels most authentic for the movie.
But with Rahul, there was a personal connection to the film. We understood that the character required a charming yet destructive quality, an almost extinct patriarch burdened with cynicism. I wanted the Actor to have some understanding of that experience, and I believe Rahul resonated with the character when he read the script. His unwavering commitment was evident. He was the first to arrive at the workshop and the last to leave. When an actor demonstrates such dedication, you have to cast them.”
When asked about actors’ objections to the audition process, Behl promptly responds, “Almost 99% of performers resist it.” He continues, “They often exhibit a certain ego, making it challenging for them to accept a role. I constantly emphasize that this exploration is not about them as actors, and there is no need to doubt their abilities. It’s all about the character, but actors struggle with this notion.”
Reflecting on the challenges he faces in producing the films he desires, Kanu Behl identifies a significant issue. Despite claims of Indian films excelling made by many individuals at Cannes, there is a lack of structural support for a specific type of cinema in India. He laments, “The directors are absent from the red carpet. Where are the filmmakers who genuinely represent our movies at Cannes?
Bollywood divas and influencers dominate the scene. The last ten independent Indian films we have seen at major film festivals were happy accidents. They exist outside the system. There needs to be an understanding of cultural nuances and their significance. Even in this aspect, we must take a political stance. The gradual disappearance of nuance is truly tragic.”Currently, Kanu Behl eagerly awaits the release of his upcoming detective thriller, “Dispatch,” featuring Manoj Bajpayee in the lead role.-by Kashvi Gala