CHENNAI: A reputed filmmaker, Prasanna Vithanage is known for his raw stories and impeccable screenplay. In his early theatre work, he translated and produced plays by international writers, and has adapted works of world literature to film. Based in Sri Lanka, most of his films capture the raw emotions and stories of war and conflict. He also released a docudrama Usawiya Nihandai (meaning ‘Silence in the Courts’) based on actual events that took place in rural Sri Lanka 10 years ago. The filmmaker was in the city recently for a summit on filmmaking, INSPIRE 2018 at MOP Vaishnav College. Excerpts follow.
How did your foray into films begin?
My father used to take me to watch films from when I was young. I remember the first film I saw, Nadodi, which he thought was Nadodimanan. I became a film buff. I was amazed by the screen in a dark room. As there is no film school in Sri Lanka, I learned about films only by watching them and reading books about films.
Your films principally address war and conflict....
Yes, but even though it is about war, it starts with something very personal that triggers emotions. I come from the generation which was onlookers of the 1983 riots against the Tamils by the Sinhalese mobs — we couldn’t do anything though we wanted to say something about it. That vulnerability made us different.
The juxtaposition of love after the war, the idea in your film With You, Without You is an interesting take.
What inspired you to make the film?
I wanted to convey the message that if you are not ready to accept the past, you cannot move ahead. I feel Sri Lanka is stuck there. And also, I wanted to emphasise the importance of looking at things from another perspective — being a Sri Lankan, unless I look at the Tamilian POV, we will never be able to resolve anything. This concept is looked at through a relationship in the film. The film took two years to make.
You give due emphasis in character development and creation. How do you create them?
Sometimes you create characters, and sometimes they overrule you! When you start from scratch, outlining them, you have to let them grow. I want to make independent characters and not those that act as mouthpieces for me! For instance, the character of Wannihami, the old father in Death on a Full Moon Day lives in a village in the north-central province of Sinhalese heartland. He lives one with nature, and can even predict patterns of nature. One day, his son’s body arrives in a coffin — he had died in an explosion. Wannihami refuses to accept it as he couldn’t predict the death of his own son. He lives in prolonged denial, refusing compensation money. When I made this film, I was thinking of my father — of the things that I couldn’t say to him. Through this film, I did (smiles).
How do you deal with controversies when making strong films based on true events?
I have realised that when you make such films, it’s important to not sensationalise them, but base the stories on the facts. I make a film because I feel the story should be told. As a filmmaker, I feel lucky that I can reach beyond my community and share my films with the whole world. And that’s the most important achievement.
Your current projects...?
Her, Him, The Other…it’s a film I did with two other directors which addresses the caste system in the last days of sovereign Sri Lanka before we came under the British in 1815. Post-production got over in Chennai and we’ll be opening in Sri Lanka and other festivals next month. In June, I’m planning on another collaboration with an Indian crew and co-producer — I will be working with Rajiv Ravi for the first time.