Aditya Bhasin, best known for Three's A Couple (2023) and Detective Roy (2018), is the man behind the recently released Pata Lapata (2024), a film which is based on the life of slum dwellers. Being brought up in Delhi, the empathy that he holds for the marginalised sections of the society, led to the germination of the idea of this film.
Bhasin and his latest release, Pata Lapata have been lauded extensively. Along with being bestowed the award for ‘Best Director’ and ‘Best Voice Over’ at the Mecca of Films, the Cannes World Film Festival 2024, he also clinched a nomination for ‘Best Film’ there.
He has won the ‘Best Director’ Award at the 14th Dadasaheb Phalke International Film Festival 2024. At the Darbangha Film Festival 2024, the film has been awarded as the ‘Best Film’, and also for the ‘Best Story’ and ‘Best Editing & Best Cinematography’. Bhasin and the film bagged the ‘Best Director & Best Writer’ and the ‘Best Documentary’ award at the Filmshort Creative Awards 2024. Additionally, the film has also been pronounced as the ‘Best Documentary’ at the Lakecity International Film Festival 2024.
Bhasin also secured the Special Jury Award for ‘Best Documentary’ and ‘Best Director’ at the Chhatrapati Shivaji Film Festival 2024. He has received an official selection at the Fireline Film Festival 2024.
In an exclusive interview with Everything Experiential, Aditya Bhasin, CEO, Underdog Motion Pictures outlines the insights that went into the conceptualisation of ‘Pata Lapata’, the characters for the film, his memorable moments while putting the film together and more.
Edited excerpts:
What inspired you to create ‘Pata Lapata’? Can you share some insights into the conceptualisation of the film?
Speaking for myself, I am of the strong belief that we never choose the story, the story chooses us. I had never planned to make something like Pata Lapata and its initiation happened like a happy accident. I was going through a difficult phase personally in life when the founder of Lakshyam, Rashi Anand called me to visit a centre of the NGO in Kirby Place which is right next to Delhi Cantt. The moment I got inside, I realised being someone who was brought up in Delhi, I had no idea of the existence of such a place and I also realised that this is one of many such places which would be everywhere across this country. The moment I went there I empathised with the people and places which made me realise that all my problems were irrelevant and very small compared to what I saw there and what I had in my heart was only gratitude for the kind of life God has blessed me with. It was that moment when this feeling took over me and I was overwhelmed by it. It was then that I thought that If I could communicate the pure feelings which came to me at that time with the people, it would probably also have a similar impact on them. I didn’t and still don’t know whether it would solve all the problems but would raise relevant questions.
The narrative of ‘Pata Lapata’ is unique with its satirical elements and depiction of slum life. How did you balance these aspects to convey the story effectively?
After the shoot was complete, we realised that we had got great content, in the sense that we were able to capture the truth in many moments. I am more inclined and fascinated with the format of fiction storytelling, so I wanted to integrate both mediums so that people who usually do not watch documentaries and prefer watching fiction would also be interested in watching this particular docudrama. The content which we captured was mostly very true and at the same time also very intense.
I am aware that I am not the first person making a film dealing with such a subject so I thought the perspective I chose or the way I decided to tell my story at least has to be different so that it feels fresh and people can connect to it. I am very intrigued by paradoxes and thought that humour, which is the opposite of the tone of our documentary, might do very well if done responsibly.
It germinated from the idea that if we choose to tell this story from the perspective of a fictional kid who is about 15 years old belonging to one of the marginalised communities, he will probably talk in this manner not being familiar with the worldly rules. I think his character dictated the presence of satirical elements in the film.
Can you elaborate on the process of choosing and developing the four central characters in the film?
I was very clear that we wanted to make a docudrama which would have a combination of fiction and non-fiction elements. was clear that when we explore the places, the people and their psychographs, it has to be done through characters which are introduced to the audience beforehand so that they can empathise with them throughout the film right till the very end. For those four characters, one had to be fictitious who would narrate the story. The three real children namely Praveen, Sakshi and Deepak were people who I connected to. I truly empathised with them and there was something about them which wanted me to know them more. I also realised that all of them come from different bastis/communities and their anecdotes were born out of the same reason which was inequality but were very different from each other and also very relevant to contemporary times.
How did you ensure the authenticity of the portrayal of slum dwellers and their experiences? Did you face any challenges in this regard?
The people of the basti were very cooperative. We knew that if we approach them from a place of empathy and truth they will also reciprocate the same. They were very welcoming. One thing which I did notice was that, overall, they were very disappointed and angry with the world in general and the concept of humanity, as they do feel unequal and unheard. I tried to ensure authenticity as I was seeking the truth, without judgement and was trying to look at everything objectively. I made sure that that is how it should come out in the film as well. By choice, I did not provide questions to everyone I had planned to interview because I feel that when people know what they are going to be asked they come with a sense of preparedness knowing what they have to answer. I wanted them to be unaware and surrender themselves to the moment so that the questions asked at the particular moment could bring out the truth.
The film uses a unique style of narration and character representation. Can you discuss your approach to these techniques and their impact on the storytelling?
As I mentioned, I wanted elements of fiction to be present as only then we can try to say something which has been said many times before, differently. Considering that, I feel the style of narration and character representation helped us to tell a complex tale in a simple manner which was always the intention. Otherwise, I do not think we could have told this story in 40 minutes.
Satire plays a significant role in the film. How did you decide on the tone, and what message did you hope to convey?
We were very clear that we would be required to tell this story from the perspective of a fictional character of a boy from one of the marginalised communities explored in the film to bind the story together. When we were ideating about the character of the boy after also meeting a lot of kids while we were shooting, we realised that he would not talk in a refined and mature manner being 15 years of age. However, they grow mentally and emotionally because of the life they see early on. So we knew that he could talk deeply but at the same time, he could be edgy and satirical like most of the kids were when we spoke to them during our shoots in the basti.
I also did not want the film to be intense and heavy throughout. I was very sure that I wanted to balance it with light moments and some humour so that the audience does not walk back with a very heavy head and people would like to engage in conversation after watching this film.
What were some of the most memorable moments during the filming of ‘Pata Lapata’?
During the shoot, a lot of revelations in the interviews happened on the spot, which was blessings, without which the film would not have been the same.
I also feel that the core crew outperformed themselves be it the director of photography Gaurav, my executive producer - Pankaj, music composer - Parth, music mixer - Sheetal, colourist - Adolf sir, co-editor - Sarthak, actor - Om Kanojiya, my assistants - Abhay & Shourya and our sound designer - Avinash Sonawane, who were all very kind enough to associate themselves with this project for very bare minimum wages, due to the budget we had, but they resonated with our intent for which I will always be grateful to them. It was because of the synergy of the core crew who approached the subject from a very pure place of empathy and honesty which I feel is the reason for the kind of product we have today. This was great to witness and experience.
What do you hope audiences take away from watching ‘Pata Lapata’?
I hope Pata Lapata makes people realise there is more to be grateful for than worry about. It has made me realise that my problems were self-created and were never problems when I saw the lives of these people. Now I live a problem-free life.
Apart from that, now, whenever someone looks outside their car window, I hope they can empathise with unequal people in a more understanding manner, as before this experience I could never understand or relate to what were they doing and why were they doing this.
Eventually, everyone will perceive it differently and will have their interpretations. All I hope is that it creates room for questions and discussions which would create a difference in the lives of people living in marginalised communities.
Following the success of your previous short film, 'Three's a Couple,' how did your approach to filmmaking evolve with ‘Pata Lapata’?
I feel that with every film one discovers more about themselves and the craft. Each film requires a different approach; you can never follow the same approach. I just remind myself to have an intention of innocence, purity and honesty every time I get the chance to make something.
Are there any upcoming projects or themes you are particularly excited about exploring in your future work?
Fiction fascinates me. All I can say is that there are a few stories on which I am working currently. One is an adventure about hostel life and the other is a drama about the dynamics of parents and children in today’s age.
Who are your biggest influences in filmmaking, and how have they shaped your directorial style?
When it comes to Indian filmmakers, Shekhar Kapur, Imtiaz Ali, Farhan Akhtar Hrishikesh Mukherjee, Nitesh Tiwari & Anurag Kashyap are the filmmakers who have had the biggest influence on me.
Internationally, Alejandro G. Innaritu, David Fincher, Seven & Zodiac, Bong Joon Ho, Martin Scorsese and Steven Spielberg have impacted me hugely.
Currently, the work happening in Malayalam cinema is very inspirational. Be it Kumbalangi Nights,Manjummel Boys & Aavesham.
How do you see the role of documentary films in today’s society, especially in raising awareness about social issues?
In today’s time, there is a surge in the volume and genres of fictional content for audiences to consume whenever they want to. I feel documentary filmmaking adds a sense of truth and reality to the story are telling and the subject you are dealing with, which can certainly positively awe people making them realise that what they are watching is more like déjà vu.
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