SVF

I deal only with individuals. Even if an ‘ism’ surfaces, it is not underlined: Aparna Sen

In a freewheeling chat, ace actor-director Aparna Sen talks about the importance of creative freedom, the subtext in her narratives, and how the actor and director in her inform each other

Like her films, Aparna Sen has a lot to say. Like her films, it is seldom on the surface; it is only when you process it that you get the essence. The celebrated actor-director was in Delhi recently to participate in an international symposium on ‘Creativity and Freedom’, organised by the Kolkata-based CIMA Gallery, Ashoka University and India International Centre. As a film writer, one is always keen to know what was playing on the director’s mind when she shaped certain characters. For Aparna, one has a long list. From trivial details like why did she name the photographer in “Paroma” as Rahul Rai? Did the fact that Aparna was herself photographed by a celebrated photographer for Life magazine play on her mind when she was writing the Rakhee-starrer? Aparna says, “no”, with a smile. She reveals that she met Raghu Rai much later though she was aware of his work. During the course of the interview, she admits that some things that exist in the subconscious mind do slip into the narrative. Perhaps, it addresses the more complex questions like the bond between the mother-in-law and her daughter-in-law in her “Paromitar Ek Din” (House of Memories) or giving a woman agency in a communal riot-like situation in “Mr. & Mrs. Iyer”….Click here to read the full story