Jijoy Pulickal Rajagopal wears many hats — actor, international theatre performer, educator, and currently, director of the K R Narayanan National Institute of Visual Science and Arts (KRNNIVSA). Known for his deep engagement with performance and pedagogy, he has been at the forefront of shaping serious film education in the country.
In this conversation with TNIE, Jijoy reflects on the significance of the first Kerala Film Policy Conclave, the evolving culture at KRNNIVSA, and the urgent need for inclusivity and reform in film education.
He also shares his thoughts on Adoor Gopalakrishnan’s recent remarks and why sensitivity to history, caste, gender, and class matters more than ever in cinema.
The first Kerala Film Policy Conclave is considered a step towards framing a comprehensive policy for the Malayalam film industry. As someone who participated in it, how do you see this initiative?
What impressed me was that the conclave created space for many small organisations. I saw them stand up and speak about their issues, and everything they said was true.
Ours is a society still grappling with power, gender, class, and caste inequalities. For the first time in the history of Malayalam cinema, voices from the bottom of the ladder were heard.
I believe Malayalam cinema cannot move forward without remembering what happened in this conclave. If these discussions are included in the policymaking process, it has the potential to bring both professionalism and quality to the industry. The government and other related bodies must use this opportunity wisely.
In the concluding session of the conclave, Adoor made comments about KRNNIVSA, calling the protest that happened during his time unnecessary and implying he was unaware of the institute’s current state. As the director, how do you respond?
For the first time, we filled all 60 seats in the institute. Earlier, students often preferred FTII or SRFTI.
Among those enrolled now, we have eight women and 11 students from outside Kerala. Many have had their works selected for international festivals, a first for the institute.
Last year alone, we spent around `2 lakh on submitting student films to film festivals. And we received over `3 lakh in returns. This way, we are trying to give our students as much exposure as possible. We organise campus tours for school students. We are planning short courses and film camps for shelter homes, migrant labourers and many other sections of society.
As for Adoor Sir’s remarks, I don’t consider anyone superior or inferior. We respect everyone. We are not claiming to have invented anything new. The path was already there.
That said, I find it hard to accept the ‘after me, the deluge’ attitude. Everything is going well here. Perhaps he is not aware of the developments due to age-related limitations or a lack of updated information. We also have not had the opportunity to explain it to him, and I would genuinely welcome that chance. He is someone who has made remarkable films.
Adoor also made some remarks on caste and gender. What’s your take?
KRNNIVSA offers six courses with 10 seats each — that’s 60 students per batch, and the course runs for three years. With three batches on campus and three graduates, we have had six batches so far.
Across all those batches, only one student has been from a Scheduled Tribe background. This is something we must reflect on. Why are we failing to reach marginalised communities?
That one tribal student performed exceptionally well, and his films were screened at international festivals. There are 36 tribal languages and many more communities. If they begin telling stories through cinema, we will gain entirely new perspectives.
Also, we live in a patriarchal society. That’s a reality we must acknowledge. Consequently, the number of women filmmakers is very low. We must create space for the female gaze.
Representation matters, and to achieve at least 50% representation, we must offer free education to women. We must also ensure that people from the LGBTQIA+ community are represented. Until adequate representation is achieved, it is essential to provide substantial support and benefits.
We must approach caste, religion, and gender with more sensitivity and humanity. We must interpret everything through the lens of history. Often, we go wrong in this regard.
No matter how accomplished someone may be in their field, such remarks sometimes reveal a lack of awareness in other important areas.
You were part of a panel discussion on 'local talent, creative ecosystem, and independent cinema'. What were the key points raised?
India has a population of 140 crore. And while there are several educational institutions, the number of film schools remains limited. Institutes such as FTII (Film and Television Institute of India, Pune), SRFTI (Satyajit Ray Film & Television Institute, Kolkata), KRNNIV-SA, and Adyar (Tamil Nadu Government M.G.R. Film and Television Institute) have only 10 seats per course. That might have been enough when these institutions were first set up. But the situation has changed.
Yes, there are film studies programmes in some universities and private institutions. However, none of them offer the structured, hands-on filmmaking courses, infrastructure and training that these national institutes provide.
We need major reform in film education, especially at the foundational level. For instance, FTII is the only institute offering a dedicated Art Direction and Production Design course. But with just 10 seats.
Another thing, India produces over 2,500 films annually, the highest in the world. The film sector brings in over Rs 1 lakh crore in revenue, including taxes for the government. Yet, we have no formal course in film production. We must nurture producers who know how to make meaningful cinema, not just focus on converting black money into white. I'm not saying everyone is like that, but there is a general perception. We need filmmakers who understand the pulse of society, who are secular, progressive, and gender-sensitive.
There are research programmes in film studies, but filmmaking is a different, practice-oriented field. We need research programmes in filmmaking too. Another issue is the lack of coordination between the film institutes in India. That should change.
In FTII, actors like Naseeruddin Shah, Shabana Azmi and many have sponsored scholarships. We need similar scholarships here, and film organisations must step forward to support this. I have pointed out all these issues during the discussions, and I believe they should lead to positive changes in the future.
As someone who works closely with students, how do you see the future of Malayalam cinema?
It's going to be excellent, there's no doubt about that. We have many talented individuals who are ready to bring positive change. What we must ensure is that society moves forward alongside them.