The recently concluded Bhubaneswar Film Festival (BFF), held from June 7th to 9th, 2024, at Jayadev Bhawan, was a resounding success, celebrating the rich legacy of Odia cinema. Organized by the Bhubaneswar Film Circle, the festival showcased a diverse lineup of 15 nationally and internationally acclaimed Odia films and classics.
I had the chance to rewatch some familiar movies and experience some for the first time. It was surprising and heartening to see Jayadev Bhawan auditorium packed with new and veteran actors, actresses, technicians, journalists, and enthusiastic film lovers.
After a brief inaugural event featuring renowned Indian film director Ketan Mehta and his wife Deepa Sahi, alongside Prasanta Nanda, A.K. Bir, Chittaranjan Tripathy and Subash Sahoo, the festival kicked off on June 7th with the screening of the Nirod Mohapatra-directed classic “Maya Miriga” (1984). For the fourth time, I watched this film, and each time I found something new to interpret. The film beautifully portrays the struggles of a middle-class family, touching on themes of aspiration and reality with a sensitive narrative style.
Next was Fakirmohan Senapati’s first novel adapted by the pioneering Odia woman filmmaker Parbati Ghose. Her film “Chha Mana Atha Guntha” (1986) attempted to bring to life the socio-economic disparities depicted in the novel. Though some critics felt she struggled to fully capture the novel’s depth, her effort to portray the first Odia novel on screen was commendable. The afternoon session featured “Bhija Matira Swarga”, the last film by renowned director Manmohan Mohapatra, which is a poignant reflection on changing rural life and the different issues faced by the common man. The day concluded with the critically acclaimed “Hello Arsi” (2018). Directed by the late Sambit Mohanty, this film stands out for its experimental approach, blending realistic dialogue with an abstract storyline. The movement of the narrative, both vertically and horizontally, seemed to stretch across infinite time and space. I had missed this film twice before, but finally watching it was a revelation. It defied conventional filmmaking norms in Odisha, offering a fresh perspective.
As a special treat, the evening ended with a documentary made by the Film Division, celebrating the contributions of another illustrious Odia director, Pramod Pati.
June 8th started with “Ahalya” (1998), a film by Bijay Ketan Mishra. This film was a mythical blend of folklore with contemporary socio-cultural issues, weaving a narrative of the sufferings of widow women that kept the audience engrossed. Following this was “Dhauli Express” (2007) by Chittaranjan Tripathy, a mainstream film that delved into the lives of common youth affected by political and social upheavals, blending drama and realism.
The afternoon sessions included actress-turned-director Bijaya Jena’s debut venture “Tara” (1992), which explored the complexities of womanhood, belief, and societal expectations with a sensitive and nuanced approach. Sanjay Pattnaik’s “Shuka Asuchi” (2014) followed, a film that offered a gritty look at the struggles and sufferings of the common man in mining areas, dealing with powerful corporations and personal redemption. The day’s screenings wrapped up with veteran director and actor Prasanta Nanda’s “Jianta Bhuta” (2008), which addressed environmental issues through a compelling narrative, highlighting the symbiotic relationship between nature and humanity. However, I was personally disappointed with the film.
The final day, June 9th, opened with Himanshu Katu’s directorial debut “Sunya Swarupa” (1996). This film, with its clean and engaging storyline, stood out as a prominent piece of Odia cinema. Sabyasachi Mohapatra’s “Sala Budhar Badla” (2020) followed, a film that touched on themes of revenge and justice, with a deeply rooted western Odishan cultural context.
The afternoon featured “Shesha Drushti” (1997), a film by acclaimed cinematographer and director Apurba Kishore Bir. Known for his visual storytelling, Bir’s film offered a mesmerizing cinematic experience, rich in visual and emotional depth. Though I was not entirely convinced by his interpretation of existential human philosophy, it was an intriguing watch. After that, the festival concluded with Gourishankar Dash and Malaya Roy’s “Moksha” (1995), a philosophical exploration of life, family, custom, aspiration, and spirituality, and the much-anticipated all-time classic “Malajahna” (1965), directed by Nitai Palit. Watching “Malajahna” for the second time, I was once again blown away by its cinematography and directorial excellence. It is astounding how such a simple yet mind-blowing film was made on our soil.
The Bhubaneswar Film Festival provided a platform for film enthusiasts to immerse themselves in Odia culture and cinema. The selection of films highlighted the diversity and depth of Odia storytelling, addressing various social, cultural, and historical themes. The festival not only honored the past with classic films but also celebrated contemporary works, fostering a sense of pride and appreciation for Odia cinema. Organizers published a beautiful book “Odia cinema @90, Rhythms, Renditions, and Reflections” on this occasion, with numerous articles on Odia film history and its relevance.
The short intervals between film screenings made for a hurried experience. Five films in a single day is a very tight schedule. It would have been educational if someone had provided interpretations or anecdotes about the films. I wished there was more time to discuss and reflect on each film. Meeting other film lovers and discussing our interpretations would have added another layer to the experience.
Overall, the BFF was an enriching experience, bringing together filmmakers, critics, and audiences to celebrate the vibrant and evolving landscape of Odia films. A big thanks to the organizers; Sanjoy Patnaik, Subash Sahoo, Sukanta Rath, Ashok Palit and others. The event underscored the importance of preserving and promoting regional cinema and left attendees eagerly anticipating the next edition.
I left the festival with a renewed appreciation for Odia cinema and its potential to tell compelling stories. The passion and dedication of everyone involved were truly inspiring. It made me proud of our cinematic heritage and excited for its future.
