The image of Peter Rabbit — tiny paws tucked into a blue waistcoat — has enchanted children for over a century. Filmmaker Faraz Ansari still finds magic in that visual. “I grew up reading Beatrix Potter’s books, and Peter Rabbit is such a powerful and charming visual. It’s incredible to think that a woman in the late 1800s or early 1900s decided to dress a pet rabbit in a waistcoat. It’s absurdly adorable, and it gives future generations of children something to dream about,” he said.
The power of imagery — how it shapes stories, emotions, and representation — was at the heart of the panel discussion The Cinematic Lens: Emotion as an Essence of Visual Narratives. Held at The Park, Chennai, as part of the fourth edition of the Chennai Photo Biennale, the conversation brought together filmmaker Faraz, visual artist and photographer Taha Ahmad, and Malini Jeevarathnam, founder of Veytikaari Productions. Moderated by The New Indian Express’ executive editor (Entertainment) Sudhir Srinivasan, the panel explored the intersections of cinema, photography, and identity.
From photography to film
Where do cinema and photography meet? The discussion kicked off with this question, and for Taha, the answer was deeply personal. “I started photography during my second year of college. I fell in love with a girl who was into fashion photography, and that’s how it all began. I had no prior exposure to the visual medium — I initially wanted to be an illustrator. But when she invited me to one of her shoots, I saw it as an opportunity to get closer to her. That’s how I started assisting a photographer named Sandeep Biswas, who worked with the UN. Through him, I was introduced to humanitarian photography.”
Taha’s debut project, Swan Song of the Badlas, documented the vanishing artisan community of Lucknow. “I worked on it for two years, and it earned me my first award, the Neil Dongre Grant. The project was exhibited globally, and that’s how my journey began,” he shared. For him, storytelling is not just about the craft but about memories. “I always believe that one’s craft is a reflection of their memories.”
Rewriting narratives
For Malini, filmmaking was a way to challenge what they saw on screen. “There wasn’t anything in front of my eyes that represented the stories I wanted to tell,” they said. “There’s a lot of sexist, sadistic, and homophobic narration in cinema. I wanted to create allyship narratives. Instead of complaining about the lack of representation, I decided to make the films I wanted to see. I wanted to make fun movies that centered on queer and trans lives, which are rarely depicted in Tamil cinema.”
Malini also spoke about the essence of inclusion. “Feeling included is about creating a healthy space. Inclusion isn’t about saying ‘my community’ — it’s about ‘our community.’ I’ve always been an extremist in my beliefs. I was raised religious but am now an atheist. Coming out was terrifying, but my mother accepted me before she passed away. That acceptance has shaped who I am.”
For Faraz, storytelling began at home. “I think it began for me with my Dadi. So much of what I try to bring to the screen is a collective of what’s in my DNA. I’ve wanted to make films since I was three. I used to create plays with my Barbie dolls, GI Joes, and He-Man figures, and my family had to watch them before dinner. Those early experiences shaped my love for storytelling.”
Inclusion, he emphasised, is central to his work. “As Malini speaks about so strongly, inclusion is what I believe in. It’s not about saying ‘my community’ — it’s about all of us coming together.”
Representation and authenticity
Representation can be a complex issue. Citing the backlash he faced for his film Sheer Qorma before it was even released, Faraz said, “We shot the film in 2019, but its release was delayed. The film features Shabana Azmi and Swara Bhaskar, both of whom are known for their strong political opinions. When the trailer dropped, there was a campaign on Twitter to boycott the film. People went on IMDb, with 700 reviews, even though the film hadn’t been released yet. It was a tough experience.”
The criticism wasn’t just external. “A lot of people asked, ‘Where is my representation?’ But the film was about a Muslim family, and I wanted to tell that story authentically. It’s ironic — a dessert in this country has a religion, a sari has a religion. People want filmmakers to be authentic, but they also challenge you to break stereotypes. It’s a constant balancing act.”
Malini added another perspective. “The percentage of actors who have come out openly is very low. Maybe, for some, portraying a queer character on screen is their way of coming out, even if they can’t do it in their personal lives. We have to consider that.”
Taha highlighted the role of photography in preserving history. He shared, “A film also becomes a visual archive. There are very few photographers who understand the nuances of capturing a story. I worked with Mira Nair on A Suitable Boy, and she spoke to me about the importance of photography in filmmaking. Whether it’s filmmaking or photography, both are visual mediums. Mira is now creating a book of all the photographs from her films. For me, more than the visuals, it’s the storytelling that’s important.”
Influences and inspirations
The panellists also shared the artistes who shaped their creative sensibilities. Taha cited Sebastião Salgado and Deepa Mehta’s Elements Trilogy as major influences. Faraz drew inspiration from Caravaggio, Robert Mapplethorpe, and Beatrix Potter. “Caravaggio’s The Resurrection of Christ is a masterpiece. Robert Mapplethorpe’s work explores sexuality in a way that’s both bold and delicate. And Beatrix Potter’s Peter Rabbit is a testament to the power of imagination.”
Malini emphasised the importance of perspective. “Palanikumar’s photographs, for example, are all about the angle. The way he captures his subjects, at eye level, is inspiring.”
As the conversation wrapped up, Sudhir reflected on the central theme of the discussion, storytelling as a way to connect people. “Whether it’s through photography or cinema, the essence of visual narratives lies in their ability to connect us to our shared humanity.”