We Sri Lankans are always happy to get together and have a chat on anything, from the more frivolous things like our nemesis’s latest (ugly) outfit, to more serious things like the future and how we as a nation can come together and unlock our fullest potential.
Brunch Talks is an informal talk platform created by Brunch to talk about things and topics that are catching our attention, and that of you, our readers.
For our inaugural episode, “The pandemic, cheap thrills, and the future of Sri Lankan cinema”, we chatted with film and TV actress Yureni Noshika, indie filmmaking collective High School Junkies Founder Akash Sunethkumara, and veteran film director and producer and Film Location Services CEO Chandran Rutnam.
Globally, the film industry took a big beating in 2020. Cinemas shut the world over, big movies kept postponing their release dates in hopes of catching physical audiences in cinemas, the production process of film was disrupted by social distancing, and Covid-19 health and safety, and in many ways, many of the world’s film industries came to something of a standstill, especially when it came to making new content.
That’s not to say that film was sidelined. If anything, demand for film and video content grew, but in different ways. Streaming platforms, which have been quietly gaining traction as film and entertainment platforms over the last few years, hit a supernova. Streaming was now the main way of consuming content, other than cable and mainstream TV.
“The new normal” as a concept has been hacked to death this past year, but for film, the new normal that established itself during the pandemic is one that cannot be ignored and is one that needs to be built into how the film industry moves forward, both locally and globally.
2020 and film in a local context
Noshika, Sunethkumara, and Rutnam all shared that 2020 was something that happened and had to be dealt with.
It was also a time of reflection and quiet creation, with Rutnam sharing that he used the pandemic to take time to recreate and plan out things and look at things as a whole, saying: “it was a time to look at ourselves and what our missions are.”
Noshika also shared that the pandemic was like a sign from the universe. “It was a time for reflection on life and how far we’ve come, and it gave us time to re-plan things and find a new direction for our lives and careers.”
It was also a time of spirituality for some, with Noshika explaining that while she took the time off created by the pandemic to catch up on movies she’d been planning to watch, she also started reading books on spirituality and that the free time was able to give her a different take on life, with more sense and depth.
The biggest challenges for Sri Lankan film
Putting their heads together, Noshika, Sunethkumara, and Rutnam talked about some of the biggest issues facing Sri Lankan film and cinema today. Noshika shared that part of why Sri Lankan film and cinema has been so badly hit by the pandemic was that it was not moving with the times in the first place, explaining that global cinema had begun embracing the virtual space several years ago, but Sri Lanka didn’t catch up until we were hit by the pandemic and had no choice but to adapt to the fact that there could no longer be audiences in cinemas.
For Noshika, a large part of why she feels the Sri Lankan film industry is failing is because of the attitude of filmmakers, performers, and other parties within the industry. “We have a problem within the industry where we don’t work as a team and want to run the race on our own,” Noshika said, sharing that artists don’t support each other.
“There is a strong focus on what is lacking, and not enough on what we have and what we can do. It’s very easy to complain and say we don’t have investors, or technology, or opportunities but is anyone making the effort to go out there and make a difference? We need to come out of the conventional ways of making film and get on to new platforms.”
“Instead of working together as an industry, we’re drifting away,” Noshika said, adding: “Channels need to be more open to working on a broader spectrum and contributing to the whole industry and not just for their own gain. Cinema is an industry and one that can actually bring in foreign investment. But sadly, this country has never noticed the value of cinema.”
Sunethkumara shared that the cinematic medium is the modern world’s most powerful medium, and that filmmakers no longer need tons of equipment and massive budgets, because with today’s technology, everyone now has a walking studio in their pocket in the form of their mobile phone, and that even individuals can bring friends together and create amazing movies.
Rutnam shared that another challenge is filmmakers not protecting their assets in the long term. “Filmmakers shouldn’t just sell the rights to their films, because you never know what the next step will be when it comes to exploiting your content,” Rutnam said, encouraging filmmakers to rent our rights to films as opposed to selling because of how fast technology is changing and how easy it is becoming to market films globally, regardless of language and culture.
Taking the film industry forward
For the film industry to grow and thrive again, Noshika shared that it was important for the Government to step in and offer incentives to young filmmakers, explaining that previously there have been loan schemes in place offered to young filmmakers, and that this kind of initiative fosters the creation of new content.
The democratisation of film also has a huge part to play in making the film industry a force to be reckoned with. Rutnam stressed that Sri Lanka is not, in any way, backwards when it comes to film production. “We can compete with any Hollywood picture. We did the production for Indiana Jones and the Temple of Doom, and Steven Spielberg and George Lucas were very happy and commended us. We have the expertise and the dedication.”
For Sri Lankan film to properly grow, Rutnam shared that young filmmakers need to be encouraged, explaining that his production company Film Location Services is happy to provide equipment free of charge to young filmmakers and then put the film out on their platform TontoFlix, so that these young filmmakers can make a name for themselves and make money off their films as well. “Now is the time for any young person to come and show their talent,” Rutnam said.
It’s also important to look at cinema first and foremost as an industry. “We need to get rid of all the red tape, Rutnam said, adding: “Some of the people making the rules and regulations just don’t have the qualifications; they have never owned a cinema. Cinemas must have the prerogative to decide what they show in their cinemas.”
For films that are not cinema-friendly, like art films with a limited market, for example, Rutnam recommended that the government cinema circuit step in and show them in state cinemas where private cinemas don’t have to take the loss of showing films with limited demand.
The power of good storytelling
Another crucial way of strengthening the film industry is quality storytelling. Noshika shared that we have lots of real-life stories that can be very powerful if told differently, citing examples like Koombiyo which transcended Sri Lankan audiences, grabbing hold of all levels of the Sri Lankan market, and the Tamil film Master which was so much in demand that new movie slots had to be created to cater to the demand. “There is an audience,” Noshika said, adding: “We have to find ways and means of getting them in. You have to think out of the box and this is the time to do that.”
Noshika also shared that it’s important for us as Sri Lankans to think big and think global and to think about showcasing and producing Sri Lankan films that can be consumed globally.
Rutnam stressed that there is a difference between good storytelling and sensationalism, and that this line can sometimes be blurred with filmmakers using cheap thrills to sell movies. “There’s nothing wrong with nudity. A man with abs or a beautiful woman in the shower is a normal thing, but when it’s used to commercialise the movie, it’s a no-no,” Rutnam said, explaining that he was once shown a film for review that included a detailed sex scene and advised for the scene to be cut out to leave things to the imagination of the viewer. “We all have our individual imagination and we see things in a different way. Our imagination is much better than what can be out on the screen.”
A new mindset
The pandemic has shifted our ways of thinking in many ways, and how we approach film and filmmaking as Sri Lankans needs to be one of those ways as well.
Noshika shared that there is a tendency among filmmakers to portray the ugly side of Sri Lanka in film in the hopes of garnering awards nominations, to the point where the global perception of Sri Lanka by the international movie viewer is warped, and they see Sri Lanka as a dangerous place, a phenomenon Sunthekumara shared he had personally experienced when visiting Los Angeles on business and meeting a taxi driver who was surprised to hear Sri Lanka was a developed country with big cities. Noshika encouraged Sri Lankan filmmakers to celebrate the positive side of Sri Lanka’s stories, lifestyles, and culture.
In the long term, Rutnam stressed that Sri Lankans, both within and without the industry, need to start respecting and taking pride in our film industry. “We have chosen it as our profession and our livelihood; it’s not a joke. We’re fortunate to be in the business.”
For a more in-depth (and wittier) look at XYZ, Brunch Talks Episode 1: XYZ can be seen in its entirety on our YouTube channel Brunch LK.
