KOCHI: From his debut feature, Vrithakrithiyulla Chathuram, to the critically acclaimed Aavasavyuham, Krishand R K has consistently crafted films that challenge conventions and leave an impact on his audience. Both films earned him recognition at the national and state levels and were featured in the competition section at the International Film Festival of Kerala (IFFK).
Krishand, who is an associate professor at IIT Bombay, yet again made a buzz at the recent IFFK with his latest film, Sungsuvinte Sangarsha Ghadana - The Art of Warfare, which explores the futility of war.
TNIE sits down with Krishand to discuss Sungsuvinte Sangarsha Ghadana, his filmmaking process, and what lies ahead. Excerpts:
What inspired you to adapt Sun Tzu’s 'The Art of War' into a Malayalam gangster film?
The book is essentially a manual that offers a set of skills and strategies related to warfare and military tactics. It’s a guide to how actions are planned and executed — like how a general deploys soldiers or a king uses a commander. The famous saying ‘Keep your friends close and your enemies closer’ originates from this text.
Delving into it, I wanted to explore the relevance of war today and its concepts in a different way. The idea was to ask questions like: Is war necessary? Is war an art?
At first, I considered adapting The Art of War as a sports film. Later, I thought of setting it in an IT company, imagining how the dynamics of corporate hierarchies could reflect the ideas in the book. Eventually, however, it evolved into a gangster flick. A local gang appeared to be the perfect setting because it shows a hierarchical ecosystem — with a king, a general, soldiers, and enemies. That structure got me hooked.
Your films deviate from conventional storytelling. In this film, you juxtapose gangsters’ lives with geopolitical events…
I am a communication designer, and that’s what I teach at IIT Bombay (his alma mater). Communication design is what I studied during my master’s programme, and it forms the foundation of my visual strength.
I have always been drawn to the craft of juxtaposing — how placing two ideas or visuals side by side can create novel thoughts. It’s something I love exploring: comparisons, understanding, deconstruction, and how these things make people feel. Curiosity drives me.
The communication in the film is deliberate and well-designed. While the concept itself is not direct, the story is simple. Despite its simplicity, I believe the film provokes thought.
The yin-yang interplay, which is central to the film’s narrative, is quite intriguing…
Well, The Art of War is rooted in Taoist philosophy. One of its core ideas is ‘Wu Wei’ — the concept of ‘doing nothing’ or being in harmony with the world. It’s about aligning with the natural flow of things. The book also touches upon the balance of yin and yang.
The paradox that intrigued me was the idea that even by doing nothing we make an impact — sometimes even greater than if we had acted.
In my films, I usually focus on a philosophical principle. I have explored concepts such as existential nihilism and stoicism in my previous works. Taoism, with its emphasis on duality and balance, seemed like a natural progression for me. The yin-yang concept is universal — it constantly reappears in life. A good character can have bad traits, and a bad character can do good. Light and darkness, music and silence — everything flows in this interconnected way. It’s this flow and duality that I have tried to capture.
What does 'Sungsuvinte Sangarsha Ghadana' mean to you personally?
It is something I was really afraid to make. It’s not a simple work of direct storytelling. I was scared it might not connect with the audience. But life’s short, and I thought, ‘Why not make something that’s not easy — something that seems almost impossible?’
I think we have to be mindful about how we communicate through film. Filmmaking is this space where you can tell stories, but it’s also about exploring the deeper philosophical layers behind those stories. When you peel those layers away, you discover something new. That’s the space I wanted to work in — somewhere in between the stories and abstraction.
The film visually references iconic directors such as Wong Kar Wai and Akira Kurosawa. How did their work influence your stylistic choices, and how did you make them your own?
Yes, since this is based on a Chinese text, it includes influences from Chinese, Japanese, and other Asian directors. There are a lot of homages in it. The masters have greatly influenced me. I have seen all of their works and drawn inspiration from them. I try to replicate what I have learned, and I think that’s very natural for a filmmaker.
Who has influenced you the most?
Terrence Malick has influenced me a lot. In Malayalam, directors such as Lijo Jose Pellissery and Bharathan have had a significant impact on me as well.
How do you view the way Malayalam cinema has been evolving? What transformation do directors like you hope to bring about?
I believe the audience has been exposed to a lot of global content of late, especially in the post-pandemic days. There’s also the issue of attention span. Hence, there has to be some form of excitement — cerebral, visual, or musical. People are drawn only to those kinds of films that provide some sort of excitement, which is sad but true.
If Malayalam cinema is changing, it means everything is changing interdependently. What filmmakers should do is not design their work with a huge audience in mind. They should focus on creating their own thing, with some consideration of how people might perceive it. But don’t go behind what’s popular.
'Sungsuvinte Sangarsha Ghadana' holds up a mirror to societal conflicts. Have you tried to communicate your politics through your work?
The more you talk about politics, the lower the sales. I try not to say too much in my work. While writing, some things naturally come out of my thoughts, and I feel it’s okay to express them. However, I never consciously intended to address politics; it’s not my design. I am simply a storyteller, obviously influenced by certain events and things.
I feel disturbed by the images of war — Palestine, Ukraine, Sudan, or Central Africa. They are unsettling. When a war breaks out, all other efforts become meaningless. Suddenly, it’s all about survival, just because some people somewhere decide we should fight. That’s disturbing. But I am not the kind who would directly address these issues in films. I don’t consider myself an activist. I focus more on packaging the film, and that’s what excites me. I want people to watch it and think about it. It’s not about immediate thinking, but it should evoke deeper thoughts later on.
How is 'Sungsuvinte Sangarsha Ghadana' going to reach more people?
There are plans for theatre and OTT releases. First, my series, Sambhava Vivaranam Nalarasangham - The Chronicles of the 4.5 Gang, is set to release on Sony sometime between March and May. Sangarsha Ghadana will be released after that.