‘Paangshu’ aims to initiate dialogue among oppressed victimized

Watch Worthy

By Tharishi Hewavithanagamage

‘Paangshu’ is director Visakesa Chandrasekaram’s second cinematic endeavour that is set to hit the big screen on August 14, 2020. Paangshu (Earth) premiered at the 2018 Montreal World Film Festival, followed by 14 more international festivals and winning several awards. At the 2019 Nice International Film Festival in France, Nita Fernando won the award for ‘Best Actress,’ Kumara Karawdeniya won the Best Costume Designer’s award, while Chandrasekaram was nominated for the award for the Best Screenplay. Xavier Kanishka won the Best Supporting Actor’s award for his role in the film at 2019 Golden Door International Film Festival of Jersey City. The film also won a Royal Reel Award, in 2019, at the Canada International Film Festival. It won high praise at the Dhaka International Film Festival, the Aswan International Women’s Film Festival and the Barcelona Imagine India International Film Festival. The film marked a shift in Sinhala cinema as it explored ‘a much discussed’, yet almost forgotten theme.

The story of ‘Paangshu’ revolves around ‘Babanona,’ a laundrywoman whose son disappeared during the insurgency that gripped the country in 1988/89. The story follows her quest to find justice for her missing son, only to discover that she has to confront the man who took away her son and his wife, and their tragic life story. It stars Nita Fernando (as ‘Babanona’) and Nadee Kammellaweera in lead roles along with Jagath Manuwarna, Nilmini Buwaneka and Xavier Kanishka among others in supporting roles.

Visakesa Chandrasekaram is a man of many talents; a lawyer by profession, screenplay and creative writer, film director, performance artist and an activist all in one. The Island was fortunate enough to delve a little deeper into ‘Paangshu’ with the creator himself. Being a lawyer by profession, one could only wonder how Chandrasekaram tapped into his inner film director.

“I never planned on becoming a film director. It all started with a vivid dream that I had when I was just nine years old, in which I was directing the veteran actors Malani Fonseka and Vijaya Kumaratunga. I think it began with that. Afterwards I tried learning a bit of film- related things through workshops, before getting the opportunity to work in the field. The dream I had as young boy came true when I was able to work with veteran actors and actresses of my time. But I realized that I cannot rely solely on this field, so I came back and became a lawyer. It may have just been the rhythm of the universe or karma as one would say that allowed me to enter the field of film making and other creative arts.”

Chandrasekaram writes in both Sinhala and English and his first piece of writing was the play script ‘Forbidden Area’ which won the Gratiaen Prize in 1999, while its Sinhalese version, ‘Thahanam Adaviya’, won the National Literary Award in 2000. His other well-known works include his debut novel ‘Tigers Don’t Confess’ (2012). His novel ‘The King and the Assassin’ (2014) was shortlisted for the Fairway Literary Award in 2015, in both Sinhalese and English categories. His debut feature film ‘Frangipani’ (2013) won several awards including the Best Foreign Film Director at the 2015 Rio LGBT Film Festival, the Dr Lester James Peris Award for the Best Debut Film Director and an award at the Sarasavi Film Festival in 2016.

“The idea for the film had been around for a long time,” he said as he delved into Sri Lanka’s dark past that has evaded public discussion for a long time. He recalled how he, as a lawyer, had first hand experience with a lot of people who had gone through the legal system under the counter-terrorism legislation and how those experiences shed light on the concept of justice. He recalled one specific instance that created a deep impression. “It was following the abduction of the students from Embilipitiya and their subsequent murder. I remember seeing a mother looking at the pictures of the skeletal remains of her dead son. She really changed my perception of the kind of professional life I wanted to have.”

Chandrasekaram opined that the things that happened during the insurgencies and the 30-year civil war are rather similar, in that a hefty price had to be paid with death. “Although the public reacted to both events in a similar manner, people seem to have forgotten or have chosen to forget the darker segments of Sri Lankan history.” He pointed out how both the winners and losers of these historical turning points have suffered.

Chandrasekaram aims to give new meaning to such events in the current context of the world. “We have gone through several brutal atrocities in the past, we have been exacting such acts on our own people as well as our ethnical ‘other’. We’re living in a democracy and these things need to be analyzed critically, if we are to avoid such violent events in the future,” he reiterated. Through ‘Paangshu’ the director intends to initiate a dialogue among our own people who were directly or indirectly oppressed as well as victimized in this era of terror.

He also addressed the issues that came with dabbling with such a sensitive subject and as to how his cast and crew collectively contributed to accomplishing his goal. “There were sceptics and political threats. Regardless, I was fortunate enough to find a group of people who got on board with the project with much enthusiasm.” According to Chandrasekaram some members of the cast and crew had lived through the insurgency and their individual experiences reinforced the story. “The younger members were equally keen on contributing to the project, for which I am grateful.”

He also explained how working on ‘Paangshu’ was a journey of awakening altogether. “As a lawyer, we usually look at things in a logical or mechanical way. The concept of justice means punishment, but there is much more to justice than the mathematics of the law in my opinion. It may be connected to others, connected to the universe and it may even go beyond our current lives. Working on this project has allowed me to look at justice in a broader perspective and that in a way is achieving a personal sense of enlightenment,” he elaborated.

When asked about what he hopes viewers will gain or glean after watching the film, he said, “If they leave the cinema thinking ‘not again,’ that means the goal I set out to achieve has been fulfilled.” He hopes that society at large, especially the younger generation will discuss the atrocities of war that have marred Sri Lanka’s history and work towards guaranteeing a peaceful life for future generations. With ‘Paangshu’ Director Chandrasekaram has perhaps paved the way for future directors and actors to explore more related topics and help create an even bigger platform to discuss and highlight political and social issues, in hopes that it will raise awareness among film-loving public.