In Dominic Sangma’s second film, Rapture (2023), the filmmaker delves into the intricate interplay of religion, superstition and xenophobic fears within a remote village in northeast India, specifically the Garo Hills. The central theme revolves around communities that commit atrocities under the pretext of maintaining peace. Through the perspective of a child, Sangma draws inspiration from local myths and taps into universal fears.

In this interview, Rapture’s writer-director delves into the dynamics at play in the hilly terrains of the Garo Hills, sharing insights into his aesthetic choices and the philosophical underpinnings that shaped his film.

Rapture Interview: Related — An Interview with ‘Agra’ Filmmaker Kanu Behl

Dipankar Sarkar: Your feature debut, MA.AMA (2018), delves into the challenges you and your father faced following the death of your mother during your infancy, while Rapture takes inspiration from formative childhood encounters that significantly shaped your outlook on your community. What motivates you to narrate these personal tales?

Dominic Sangma: Some incidents that we experience in our childhood stay in our subconscious minds like undefined lumps of dark matter — they don’t disappear with time. Instead, they become a part of our being, much like a Malaria germ. Once you have it and don’t cure it properly, it stays in you and resurfaces whenever you are physically weak. I use this example because I had terrible Malaria when I was a kid. Certain incidents, especially in our childhood, can shock and numb us. At that age, we lack the emotional and intellectual capacity to handle them. Imagine a two-and-a-half-year-old losing his mother suddenly and the idea of black magic being incomprehensible to the child. Art helps us articulate and define these experiences. The moment we give shape and form to these lumps, we can understand them better. Cinema is the best medium for this because it deals with time and can shape it into an understandable perspective. After making these two films, I feel a bit lighter. Cinema helps me destabilize my ideas about life; there is no fixed reality. I feel that, after creating these two films, my perception of life is refreshed. Now, I think I can move on to something else. MA.AMA and Rapture are part of the trilogy based on my village and memories.

Rapture Interview: Related — An Interview with ‘Vaat’ Filmmaker Miransha Naik

DS: How did your filmmaking education at the Satyajit Ray Film and Television Institute (SRFTI) impact and mold your viewpoint on the craft of filmmaking?

Sangma: I hated school and college. SRFTI was the only space where I learned something in an institutional setting because there was so much freedom to be ourselves. It has one of the best film infrastructures in the country, and we had great film libraries and spaces to watch films and discuss them with batch mates. However, I lacked good teachers during my time there. That space helped me discover myself; I encountered films and books of great masters, and once you have truly been touched by their works, your life is bound to change. It’s like biting into forbidden fruit. Sculpting in Time by Andrei Tarkovsky [1985] and Notes on Cinematography by Robert Bresson [1975] became the books that I read once every year until now. These books give me the courage to create the kind of films I make.

Rapture Interview: Related — An Interview with ‘Footprints on Water’ Filmmaker Nathalia Syam

DS: MA.AMA begins with a dream sequence, while in Rapture, Kasan, having fainted at the sight of a brutal act, experiences a subsequent dream. Could you delve into the significance of these sequences within your films?

Sangma: I am continually fascinated by the power of dreams and our submissive nature when we sleep. The moment we close our eyes at night to sleep, I believe we become a part of infinity. The darkness we experience when we close our eyes extends to the darkness outside, and in that state, anything can happen to us — both in the dream and in reality. We have no power to control anything; dreams are like films projected on a multi-dimensional screen where we are both spectators and performers. This quality of dreams is both poetic and magical, much like pure cinema. My dreams are vivid and impactful to the extent that they help me navigate through certain situations or even prompt me to change the course of some actions. In both films, dreams play a significant role, and their impact on the characters is profound. In MA.AMA,  the entire journey of the old man begins because of a dream. In Rapture,  the dream is so impactful that Kasan believes a small coffin is meant for him, leading him to burn the coffin to prevent it from becoming a reality.

Rapture Interview: Related — An Interview with ‘Lords of Lockdown’ Filmmaker Mihir Fadnavis

DS: At first, Mangkungchi’s father rejects the Shaman’s words, labeling him as a poser. However, when Mangkungchi takes a drastic step upon returning home, the father begins to acknowledge the Shaman’s warnings. In MA.AMA, Philip’s wife passes away after a black magic ritual. How does the incorporation of occult practices enhance the overall atmosphere of your narrative?

Sangma: I like your observation regarding Mangkungchi’s father, but that’s just one perspective. If you closely observe him, you might notice that he is uncertain about his actions and words. For instance, during the search for Mangkunchi in the forest, they spot a blue t-shirt hanging on a tree, and he claims it’s Mangkunchi’s usual shirt. However, Mangkunchi returns later wearing a different blue t-shirt, suggesting it could have been another one. In another scene, he hesitates about meeting the shaman, yet he goes and brings back his hen, asserting that he is not afraid of shamanic warnings. While Mangkunchi’s fate doesn’t necessarily prove the shaman’s words true, people often tend to assign meaning to justify their words and actions. In the end, he indirectly shifts the blame to Kasan’s father when trying to console him, saying, “You believe in the Shaman more than me.” These subtleties reveal the internal world of the characters.

The Garos had their indigenous faith and practices before colonization and the arrival of Christianity in the region, as I mentioned in response to your initial question. Similarly, as a tribe, we share collective memories, whether rooted in shamanism or indigenous faith; they are integral to our being and deeply ingrained in our consciousness. They act like two sides of the same coin, representing duality, dichotomy and confusion within the tribe, manifesting in their everyday words and actions. That’s what defines us; things are not simple — they’re composed of many colors. Our lives are more complex than we might imagine, and nothing in the film is absolute for me.

Rapture Interview: Related — An Interview with ‘Stolen’ Filmmaker Karan Tejpal

DS: As the narrative of Rapture unfolds, skepticism intensifies among the villagers, prompting inquiries about whether the abduction is the work of a human intruder or a forest spirit. Does their ethnocentric conduct and dependence on superstition ultimately result in their downfall during the climax?

Sangma: Skepticism and superstition may contribute, but they are not the primary focus here. Numerous factors converge, spiralling into chaos. The central questions revolve around understanding the roots of these issues: why are we so fearful? Who dictates these fears? Where does this animosity towards others originate? Why [does] the “us and them” divide widen each day?

In terms of the film’s narrative structure, it is distinctly divided into two parts: pre-killing and post-killing. Viewers can discern that most of the characters’ fears are not grounded in reality; instead, they are exaggerated by assumptions, imagination, belief systems and perceptions of life. How we react to such situations determines whether it leads to destruction or peace. The power lies in our hands — we can either worsen or improve the situation. Before the tragic incident of killing the stranger, there were ample opportunities for the characters to pause and calmly assess the situation. It seems that we are all rushing, perhaps coerced to rush, preventing us from paying attention to the happenings in our lives. Events unfold rapidly, both in the film and in reality, preventing us from reaching proper conclusions before new distractions arise. It’s as if we are tumbling headlong into an abyss. They could have chosen not to take a life. If blood is shed, it would only lead to uncontrollable chaos, and the responsibility for that blood would be on everyone.

Rapture Interview: Related — An Interview with ‘Kayo Kayo Colour?’ Filmmaker Shahrukhkhan Chavada

DS: Sobel, an old coffin maker, believes that the apocalyptic night could present the village community with a new beginning. Kasan believes that whenever he constructs a coffin, someone in the village meets their demise. In Sobel’s workshop, Kasan also engages in a disturbing act involving a feline. What were you aiming to convey through their relationship?

Sangma: It was Nengsal’s monologue, confiding in mute Sobel. Nengsal is a man with an intact moral compass and a conscience that guides his actions, but he cannot convince the crowd. He is deeply concerned about the safety of the village and is against the killing of the stranger. However, the villagers are unwilling to listen to him; instead, they rush to vent their anger. Even though it is a community decision, it affects his family the most, especially since his son witnesses the tragic incident. There is a warning that severe consequences await anyone leaking information about the incident. Nengsal is conscious of his involvement because he is part of the community, even though he is against the decision. He feels both guilt and fear of the consequences, and he is somehow aware of the darkness it will lead to, as something within him changes. One could say the light in him dims giving way to darkness, as he succumbs to the pressure.

It’s important to clarify that Kasan burns the coffin, not the cat. The sound of the bird warns Sobel, leading some viewers to misinterpret it as Kasan burning the cat. Kasan’s act of burning the coffin is a form of resistance against his assumptions. There is no proof that whenever Sobel finishes a coffin, someone dies. Kasan himself speaks these words to his friend during one of their visits to Sobel’s room, creating a self-fulfilling prophecy. The dialogue in the film is not absolute. In 98 percent of the films we watch, dialogues are treated as absolute — whatever a character says is taken to be exactly what they mean. However, in real life, the words we speak and what we truly mean are often different. This distinction is what I aim to convey in the film.

Rapture Interview: Related — An Interview with ‘A Match’ Filmmaker Jayant Digambar Somalkar

DS: Towards Rapture’s end, Nengsal starts nursing the idea that the villagers are conspiring to banish his family, despite his unwavering commitment and support for the community. Despite his reluctance, Nengsal contributes to the apocalyptic relief fund. On the other hand, the pastor displays unholy behavior towards the community, betraying their trust in him. 

Sangma: Before the tragic incident of killing the stranger, it is agreed among the elders that anyone leaking information about it would face severe consequences. Nengsal’s son, Kasan, secretly witnesses the killing. As a father, Nengsal may be concerned that Kasan could share this information with his friends, leading to trouble. There might be truth in the villagers conspiring to banish them to protect the village, as such actions are not uncommon.

Nengsal attempts to explain to his son why the villagers had to kill the stranger, even though he doesn’t believe in such acts of violence. However, before he can finish his sentences, Kasan falls asleep, adding another layer of sadness to the situation. There are numerous internal contradictions at play. The fact that Nengsal contributes to the apocalyptic relief fund, despite his reluctance, also reveals his nature as a man. Gradually, he seems to be trading conscience for convenience, with darkness slowly taking over the light. Alternatively, he might be yielding to his wife’s wish to stay in the village instead of leaving. Even the pastor, who may genuinely want to save the community, undergoes changes influenced by money and a younger woman in his life. It reflects the difficulty we have in perceiving our changes in character, as may be the case for a pastor.

Rapture Interview: Related — An Interview with ‘Dharti Latar Re Horo’ Filmmaker Shishir Jha

DS: What influenced your choice to have Mohan Kumar Valasala, a filmmaker, serve as the editor for Rapture?

Sangma: Mohan is both a friend and a batch mate from SRFTI, and he is an incredibly talented filmmaker. His documentary project as a student, Panchabhuta (2012), was selected at the Berlin Film Festival and traveled to many other film festivals worldwide. The way he joined the project is quite interesting. Upon seeing my pitch clip for Rapture, he expressed his desire to join the shoot and help. Initially, I didn’t believe him, but he insisted on reading my script. After loving the script, he continued to insist on joining the project. I hesitated to include him in the crew because he is a director, and I was a bit skeptical about introducing peer pressure during the shoot, something akin to film school syndrome. However, having him on board turned out to be one of the best things that happened.

Together, with my producer, Eva Gunme Marak, Mohan took charge of the production, ensuring a smooth shoot, and he became the executive producer. Not only did he handle production responsibilities, but he also worked as the DIT during the shoot. His inclusion as an editor was almost by chance. On the last day of the shoot, Tarun Kumar Rakhesiya, a crew member and batch mate, suggested him as an editor, and I’m glad I followed his advice. Mohan played a crucial role in shaping the film during the editing process, and we spent a lot of time working on it together.

Shooting this film felt like shooting a diploma film. Tojo Xavier, the cinematographer, has worked on all my film school projects. Vineet Vashistha, the sound designer and recordist, and Tarun Kumar Rakeshiya, my batch mate and close friend, were also part of the dedicated team.

Rapture Interview: Related — An Interview with ‘Ghaath’ Filmmaker Chhatrapal Ninawe

DS: The interplay of light and darkness is pivotal in shaping the dark theme of Rapture as the villagers brace for the impending apocalyptic darkness. Scenes such as villagers searching for cicadas at night, Kasan returning home with a lantern and the procession with the statue of the Virgin Mary all contribute to the film’s atmosphere. Conversely, daytime shots offer a temporary respite from the looming threat. How did you plan Rapture’s visual landscape?

Sangma: We aimed for the audience to experience darkness as if being engulfed in it — a darkness devoid of atmospheric light or moonlight. Only by carrying a light source, either in hand or used to illuminate the surroundings, could we dispel the darkness. It required a conscious act of carrying light to bring illumination to the darkness. This intention led us to open the film with a pitch-black scene, where people emerged from the darkness with light in their hands. Instructing my cinematographer, I emphasized avoiding fill light. During the recce, I took him around the village at night, asking him to replicate the feeling of walking around without moonlight. The darkness in the village and the city presented two distinct experiences. The use of light and darkness in the film also holds metaphorical significance, with even daylight shots being captured during overcast conditions or in the morning and evening.

Another crucial visual style we adopted was the use of deep focus to create layers of action in the foreground, midground and background. Given that Rapture deals with the conscience of the village itself rather than focusing solely on a particular character, the village and its inhabitants become the main characters. Growing up in a remote village, I observed the social structure and realized that in everyone’s lives, stories and secrets intertwine seamlessly. In the village, everyone knows everybody, and there can be no secrets; any secret of the village becomes a common secret. It forms a collective conscience. Through these layers of action, I aimed to create a lifelike effect. In real-life situations, numerous events unfold in front of our eyes in different layers, and what we choose to see determines our perception of the situation.

Rapture Interview: Related — An Interview with ‘Follower’ Filmmaker Harshad Nalawade

DS: The aural environment in Rapture intricately incorporates everyday sounds, capturing the routine activities of the villagers. This design raises awareness of a seemingly ordinary world, yet one constrained to internalized spaces. 

Sangma: We strongly opposed the idea of enhancing different emotions in the film with music and special sound effects. Our intent was for the audience to immerse themselves in the beauty of the natural sounds of the forest and the village. We were particularly meticulous about maintaining authenticity in the sound, aligning it closely with the auditory atmosphere of my village. I conveyed to the sound designer that the audience from the Garo Hills should first connect with the sound design of the film. To illustrate, consider the scene inside the cave where Kasan is placed in the coffin, and there is the ringing of a bell. The sound designer initially hesitated, as it reminded him of a school bell, but I explained that in our village, we ring a bell like that whenever someone passes away.

Rapture Interview: Related — An Interview with ‘Bahadur the Brave’ Filmmaker Diwa Shah

DS: Rapture secured funding from the Hubert Bals Fund, Vision Sud-Est and the Doha Film Institute. How did their support contribute to the production?

Sangma: It helped me in many ways. The best part of this funding is that it didn’t require co-producers from their respective countries. Additionally, the funding can be fully utilized in the country of production. Some funding sources have regulations that stipulate a portion of the money must be spent in their countries, whether for post-production or involving actors or crew from there. Also, they keep monitoring the progress of the film and support the film in different ways.

Rapture Interview: Related — An Interview with ‘Hadinelentu’ Filmmaker Prithvi Konanur

DS: Share your experiences of guiding and inspiring budding filmmakers as a guest faculty member at the Film And Television Institute in Itanagar, India.

Sangma: First of all, it is crucial to learn and understand where each student comes from. They all have different backgrounds, cultures and lifestyles, and their memories and experiences vary. If we don’t understand these aspects of students initially, there is a danger of imposing our ideas on them. As teachers, our role is to bring out the best in them, helping them unlearn their preconceived ideas about film that can restrict their growth. We aim to guide them to be sincere in whatever kind of films they want to make.

With my students, I guided them to create two films — one when they had the budget for it and another when they didn’t have money but possessed equipment and friends ready to support them. While the institute officially provided funds for one film, we made another film without financial resources but with available equipment and crew. The goal was to make students realize that there is no fixed way of making films; they should find their ways, be radical and be experimental.

Rapture Interview: Related — An Interview with ‘Nehemich’ Filmmaker Yudhajit Basu

DS: You are the co-founder and artistic director of the Kelvin Cinema Festival in Shillong, India. What inspired this endeavor?

Sangma: Before joining SRFTI, I hadn’t watched any world cinema; I didn’t even know that such a cinema existed. I only watched Hindi films and Hollywood films. SRFTI opened the door to a different world, and I felt cheated and misled all those years. I was wasting my time on films that could have dulled my perception of life. I don’t want that to happen to young aspiring filmmakers from the region. With the Kelvin Cinema Festival, both Pradip Kurbah and I aim to bring good films from across India, introduce filmmakers from different regions and create a space to learn various aspects of filmmaking, festival strategy, distribution, etc. We are already witnessing positive changes because of it.

Rapture Interview: Related — An Interview with ‘Against the Tide’ Filmmaker Sarvnik Kaur

DS: Lastly, what are your upcoming plans?

Sangma: I am presently working on the development of my upcoming film. At this stage, it’s too early to delve into the specifics of the concept. However, the theme will echo that of my previous films, forming a trilogy-like continuity.

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.

Rapture Interview: Related — An Interview with ‘Privacy’ Filmmaker Sudeep Kanwal