Nathalia Syam is a London-based Indian filmmaker whose debut feature film, Footprints on Water (2023), centers around an immigrant, Raghu (Adil Hussain), who struggles to make ends meet in Birmingham. The story dives into the complexity and rigor that the protagonist must experience in order to fulfill his dreams and aspirations. Footprints on Water also sheds light on the societal barriers and prejudices that immigrants often encounter, highlighting the importance of empathy and understanding in fostering a more inclusive society. Syam skillfully explores the universal themes of identity, belonging and the pursuit of happiness, with her film serving as a poignant reminder that compassion and acceptance are crucial in building a harmonious and multicultural society.

Footprints in Water had its world premiere at the 2023 New York Indian Film Festival, where Syam won the Best Debut Film award. In this conversation, she discusses the various creative decisions that enabled her to make such a dark and thought-provoking film.

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Dipankar Sarkar: What drew you into the world of filmmaking?

Nathalia Syam: My passion for filmmaking began during my school days when I discovered the captivating world of acting through school plays. The magic of bringing characters to life on stage deeply intrigued me. In my late teenage years, I was fortunate to participate in a short film, which provided me with a glimpse behind the scenes. It was during this experience that I truly understood the intricate artistry and collaboration involved in filmmaking. Witnessing the fusion of creativity, emotion and technical expertise to create compelling narratives on screen fascinated me immensely. Despite initially pursuing a path in accountancy after school, my heart was drawn back to the world of filmmaking. The ability to convey powerful stories, evoke emotions and provoke thoughts through the medium of film resonated with me deeply. I therefore quit my studies in accounts and started working in the industry as a runner and then progressed onto a film degree in London. I recognized the immense impact that films can have on society, shaping perspectives and fostering understanding among diverse audiences. This realization, coupled with my fascination for visual storytelling, ultimately led me to choose the path of a filmmaker. I am driven by the desire to contribute my creativity to this art form, hoping to create films that inspire, entertain and leave a lasting impression on viewers.

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DS: Prior to making your directorial debut as a full-length feature filmmaker, you directed short films. How did this aid in the development of your skills?

NS: My journey to becoming a film director was gradual and quite slow (not by choice). Before making my directorial debut in full-length feature films, I immersed myself in various roles within the film industry, from being a runner to an assistant director and even an on-set driver. These experiences allowed me to understand the intricate workings of a film set. In 2015, I directed my graduate short film Thaara (2016), followed by my first official short film commissioned by Channel 4 Random Acts in 2017 (Lehenga). Directing short films proved invaluable in honing my skills. It provided a platform to experiment, learn and refine my craft on a smaller scale. Lehenga ended by garnering attention at numerous festivals and also had a few award wins. This was a crucial training ground, enabling me to tackle challenges and enhance my storytelling abilities. 

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DS: Footprints on Water deals with characters impacted by the migration crisis. What inspired this focus?

NS: The inspiration behind focusing on the migration crisis in Footprints on Water stemmed from our personal experiences as immigrants of Indian origin who relocated to the UK at a young age. Settling in one of the most Asian-dominated parts of London, we were deeply intrigued by the lives of the migrant community surrounding us. This curiosity sparked the question: what would happen if an undocumented migrant suddenly went missing? How would they navigate this situation while remaining invisible to society? These ponderings led to the inception of the film’s narrative. While Footprints on Water is not based on a real story, it is a culmination of numerous experiences and tales that we encountered within the migrant community. We wanted to shed light on the struggles, fears and challenges faced by undocumented migrants, a topic that often remains hidden from the public eye. 

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DS: What sort of research did you and your screenwriter, Neetha Syam, do to accurately depict the plight of Raghu and his family on the big screen?

NS: The research process for Footprints on Water was extensive and multifaceted. Working closely with my sister, Neetha Syam — the screenwriter of the film and a recipient of the prestigious Cinestaan award in 2019 for this script — we delved into the authentic experiences of those that are undocumented. Our primary inspiration stemmed from our own upbringing in the UK, providing a genuine foundation for the narrative. To ensure accuracy and depth, Neetha immersed herself in rigorous research. This exploration led us to uncover various aspects of the undocumented migrant community, shedding light on pressing issues like modern-day human trafficking. Neetha had interviewed numerous people and had spoken with organizations and charities that specialized in services for immigrants. 

As a director, my approach was grounded in authenticity. I aimed to depict the story as it is, without embellishment or exaggeration. By presenting the raw, unfiltered truth, I endeavored to provide audiences with a genuine glimpse into the lives of undocumented migrants. 

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DS: Footprints on Water begins with a shot of a scrap yard and culminates with a migrant in a foreign land. What were the intentions behind these two crucial shots?

NS: I chose to begin and end the film with scenes unrelated to the main characters but connected to the theme of immigration and living an undocumented life. Raghu’s story represents one experience among many. Using this approach, I wanted to highlight that Raghu’s situation is just a small part of a larger issue. The film aims to portray the ongoing cycle of immigration — new people arriving, some staying, some leaving and some remaining unseen. This approach was meant to emphasize the broader reality and complexity of undocumented lives beyond Raghu’s individual story.

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DS: At the same time, the film’s title also has a metaphorical undertone.

NS: Absolutely. The title, Footprints on Water, holds a profound metaphorical meaning in the context of the film. It encapsulates the essence of the lives of undocumented migrants living in the UK. The choice of the title reflects our fascination with the experiences of individuals who, due to their undocumented status, are forced to lead invisible lives within society. The metaphor of Footprints on Water symbolizes the transient and ephemeral nature of their existence. Much like footprints vanishing upon water’s surface, these migrants must remain unnoticed, leaving no trace of their presence. The title captures the challenges they face in staying under the radar, navigating a world where visibility could mean vulnerability.

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DS: How did this casting process work? And what was it like directing the actors for Footprints on Water?

NS: The casting process for our film was quite an exciting journey! I’ve been a huge fan of Adil Hussain for a long time, so when I learned he was shooting in the UK, I couldn’t pass up the opportunity. I reached out to my producer, Mohaan Naadar at TPHQ, and he set up a meeting for us to go and pitch to Adil. After a successful meeting, Adil read the script before confirming onboard! As for Nimisha Sajayan, I connected with her on Instagram, narrated the story, and she immediately resonated with it. Her enthusiasm was contagious, and she jumped on board, bringing incredible energy to the project. With Antonio and Lena, it was a more traditional approach where we were connected through mutual contacts working in the industry. Their professionalism and dedication truly elevated the film. For the rest of the cast, we held auditions in both London and Birmingham. It was a fantastic experience because we got to meet a mix of aspiring talents and seasoned actors. This process allowed us to discover hidden gems, many of those who were acting for the first time. Each brought their unique perspective and creativity to the set, making the whole experience incredibly fulfilling. 

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DS: Raghu is a hard-working employee and cares for his family. But he is also racist and self-centered when it comes to helping others monetarily. In a scene between him and Aravind, he is revealed to be an emotional being who has been betrayed by his clients. How would you define his character?

NS: Raghu’s character reflects the complexities within all of “us.” He embodies both virtues and flaws, making him a relatable and realistic figure. Throughout the film, Raghu undergoes a character arc that showcases his evolution, encompassing both positive and negative aspects of his personality. Without giving away spoilers, our intention was to depict his struggles and the consequences of his decisions, whether good or bad, [that] shape his journey. Raghu’s story serves as a reminder of the challenges we all face, the choices we make and the resilience we summon to navigate life’s complexities.

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DS: At the same time, through a montage sequence, viewers learn about the course of Meera’s relationship with Rehan. Why did you use this narrative device as an expository tool?   

NS: The montage sequence was a deliberate choice, aiming to offer a rare glimpse into Meera’s concealed world. While Raghu’s story unfolds naturally, Meera’s past is revealed during moments when she is unconscious, emphasizing the limitations imposed upon her life.  In this sequence, we witness happier moments from Meera’s past. Unlike Raghu, whose flashbacks are presented naturally, Meera’s memories are revealed at a time [when] she is unconscious in the film. By presenting her thoughts and memories while she’s unaware, I hoped for the montage to serve as a metaphor for her restricted existence.

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DS: The camera has a certain approach. There are long, unbroken takes as well, and in certain scenes, you rely on close-ups. How did you and your cinematographer, Azhagappan, decide upon the visual world of Footprints on Water?

NS: Working with our director of photography, Alagappan Narayanan, was an enriching experience. He was an integral part of the film, bringing his expertise and a keen eye for detail. Our visual approach aimed for authenticity. We wanted to represent frames in their true form [by] avoiding exaggeration. By seamlessly integrating long, unbroken takes and close-ups, we aimed to metaphorically capture life’s unexpected nature. Long takes portray the continuity of life, while close-ups delve into characters’ emotions, revealing their depth and complexity. Another aspect of our visual storytelling was focusing primarily on characters rather than emphasizing filler shots to establish the environment. Through this approach, we hoped to create a direct connection between the viewers and the characters, enabling empathy and understanding to develop naturally. 

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DS: How long did it take you to edit Footprints on Water? And how was the experience of working with Suresh Pai
Pervaiz, the editor?

NS. The editing journey for the film spanned a period of six to nine months, during which time I had the privilege of collaborating closely with the exceptionally talented editor Suresh Pai. Our detailed approach began with an in-depth review of every take, a process that allowed us to immerse ourselves fully in the raw emotions and nuances captured on film. This thorough screening not only provided a deep understanding of the material but also facilitated the selection of the most compelling moments, ensuring the final edit was a harmonious blend of powerful performances and authentic storytelling. Once this foundation was set, I entrusted Suresh Pai with the creative reins where his expertise and keen eye for detail came to the forefront during this phase. Suresh Pai’s ability to craft seamless transitions between scenes and enhance the emotional depth of the characters played a pivotal role in shaping the film’s narrative. 

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DS: How did the sound design by Resul Pookutty and the background score by Tuomas Kantelinen help in layering the narrative?

NS: Working with Resul Pookutty on sound design and Tuomas Kantelinen on the background score was an incredible journey that significantly enriched our film. Pookutty’s mastery in sound design was evident in the way he brought authenticity to every scene. His expertise not only elevated the auditory experience but also played a pivotal role in depicting the raw reality on screen. We’ve been fortunate to receive positive feedback, a testament to the crucial role sound design played in immersing the audience in the film’s world. Tuomas Kantelinen, our talented music director from Finland, shared my vision for subtle, minimalist music that seamlessly integrates with the narrative. His understanding of the film’s essence was remarkable. Tuomas crafted scores that didn’t just accompany the scenes but enhanced them, evoking the right emotions and adding depth to the storytelling. Their collaboration allowed us to achieve a genuine sense of realism, making the film resonate deeply with viewers. 

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DS: At what stage during the development did Mohaan Nadaar get involved as a producer? And how did his involvement impact the making of Footprints on Water?

NS: I first met Mohaan on the set of his film Rat on a highway in 2019 where I worked as a 1st assistant director. [Shortly after], I shared the concept of Footprints on Water with him. By this time, our script was complete and ready to shoot, having spent around three to four years researching as part of the development stage. Mohaan found the idea compelling, especially since it tackled an uncommonly discussed topic — the lives of undocumented migrants in the UK. He was great in putting everything together so quickly with his wonderful team, and despite the challenges posed by the pandemic, we commenced filming in December 2020. His expertise and support were instrumental in overcoming hurdles, ensuring the successful completion of the film. Together, this sense of resilience allowed us all to come together in bringing this story to life. Currently, [Mohaan] is actively preparing for the film’s release in early 2024 after its successful run at numerous international film festivals. We eagerly anticipate bringing this impactful story to our audiences soon and hope everyone can support us in this journey.

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DS: Footprints on Water is grounded in raw realism and steeped in sociopolitical awareness. How do you explain the potential impact of your filmmaking on audiences unfamiliar with the brutal reality of the film’s topic?

NS: Cinema, for me, has always been a powerful tool for understanding and connecting with the world’s realities. I’ve been inspired by nouveau réalisme, focusing on depicting raw, genuine experiences on screen. Films have the power to entertain, inform, educate and inspire audiences, making them aware of pressing issues. Footprints on Water delves into the lives of those who, out of desperation, seek a better future, highlighting the challenges faced by marginalized individuals. Raghu’s story, though specific, embodies universal themes — a father’s love and his relentless search for his missing daughter. While the film sheds light on the harsh realities of undocumented migrants, it also resonates with broader emotions that everyone can relate to. We hoped to present this story through relatable emotions, even in unfamiliar settings, creating a bridge between the audience and the film’s world. By doing so, we hope to raise awareness and initiate conversations about topics often kept in the shadows.

Dipankar Sarkar (@Dipankar_Tezpur) is a graduate in film editing from the Film and Television Institute of India and currently based in Mumbai. As a freelancer, he frequently contributes to various Indian publications on cinema-related topics.

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