Afrad Vk’s directorial debut, Riptide (2024), unfolds its poetic narrative across three evocative chapters. Set mostly within the confined walls of an institutional hostel room, the fervent love story between Suku (Swalah Rahman) and Charlie (Faris Hind) intertwines the threads of love, literature and music, weaving a tapestry of emotions. A symphony of oblivion resonates with the harmonies of shared passions as the protagonists navigate the concluding phase of their college life. Their shared moment of bliss and tranquility is shattered when a life-threatening illness befalls Suku, prompting an abrupt departure from the comfort of familiar surroundings. In this interview, Riptide’s writer-director discusses the movie’s queer milieu, his meticulous scene design and the diverse inspirations drawn from his filmmaking journey.

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Dipankar Sarkar: The concept for Riptide originated from a student short film. How did you expand it into a full-length feature script?

Afrad Vk: The basic idea was to create a film as part of the diploma film project and to have a great time making it. Honestly, we didn’t care about the length — whether it would be a short, medium or feature film. The script I wrote initially called for a feature-length film. However, before we started filming, I didn’t have a clear understanding of how scenes worked or how much time each scene would take. It was only halfway through the filming process that I realized [Riptide] was turning out to be longer than anticipated. The entire experience involved learning various aspects of filmmaking on the go, as I was studying and applying them simultaneously.

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DS: What inspired Riptide’s 80s-like production design?

AV: The film doesn’t specify a particular time period for the story, but it is crafted to evoke a retro atmosphere. Discrimination and hostility toward the LGBTQIA community in Kerala haven’t changed significantly from the past, but the community has grown stronger and more outspoken over the years, fostering greater unity. [Riptide] addresses a subject matter that remains relevant, and the situations portrayed in the story are more compelling and aesthetically pleasing when set in a retro atmosphere. During that era, individuals from the LGBTQIA community experienced abuse and hardship, navigating these challenges alone without support from the general public and the law.

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DS: What led to the decision to structure Riptide into three chapters?

AV: I wanted the audience to feel as if they were reading a novel on a languid afternoon, enchanted by sleep. Each scene concluding in darkness should evoke the sensation of turning the last page. The decision to narrate the story in chapters, while simultaneously employing a non-linear structure, was intended to create a sense of mystery. This mystery unfolds gradually, and you can only fully grasp it after experiencing the perspectives of the two characters presented in the initial soft and melancholic chapters. The third chapter serves as the unveiling of the mystery, presented realistically and confrontationally. Its purpose is to shock the audience, particularly those who might still be immersed in the reverie of melancholy.

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DS: Riptide includes many nuanced scenes and moments of silence.

aV: Yes, the film is shot at a very subtle and slow pace, with fewer dialogues and a greater emphasis on body language and nuances to create a dreamy and melodramatic storytelling style. The profound silence within the nearly empty hostel symbolizes a beautiful relationship on the verge of disintegration. The lovers are forced to part ways due to a grave injustice, leading to the emptiness and silence within the hostel. In contrast, the silence in the expansive natural settings of the forest and sea serves as a space for the lovers to express themselves authentically, free from the walls of judgment and discrimination.

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DS: In moments of joyfulness and togetherness for Suku and Charlie, slow-motion shots are employed, and also within a brutal moment during the climax.

AV: [Riptide] utilizes slow-motion shots to capture the beauty and melancholy of the relationship between Suku and Charlie. When the lovers are alone, they can authentically be themselves and celebrate a love that exists in a timeless space, independent of the impending constraints of time. The film acknowledges time as a crucial element, especially with the looming separation at the end of college life as they leave their hostel room and enter adulthood. In the first two chapters, slow-motion shots are employed to depict the beauty of relationships. Later in [Riptide], these shots are also used to showcase the contrast between the beauty of love and the ugliness of violence, emphasizing the duality within the narrative.

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DS: Hostel walls in Riptide are adorned with posters of David Bowie’s Space Oddity (1969), Franc Roddam’s musical Quadrophenia (1979) and Michelangelo Antonioni’s mystery thriller Blow-Up (1966). Aside from establishing the period of the film, what function do they serve within the narrative?

AV: Rather than solely establishing the period, the posters serve as profound sources of inspiration for the project. In particular, Blow Up stands out as a film that fundamentally altered my perception of cinema. It made me understand the purpose of being a filmmaker and enjoy the beauty of elusiveness as a cinephile. Just as Blow-Up captures an accidental murder on camera, Riptide also involves an institutionalized murder captured on film. Quadrophenia holds its own significance as a remarkable teen film, featuring a vibrant punk rock scene that vividly portrays teen angst and confusion in cinema. David Bowie’s music also radiates great queer energy, so they were all placed to be cultural references to those who want to look deep into [Riptide].

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DS: Why did you choose to delve into a pre-colonial past with a British officer named Dawson?

AV: The story of Dawson is steeped in legend and folklore that unfolds in the forest near my hometown where he served as the forest engineer. The tomb depicted in the film is, in fact, the real tomb of E.S Dawson. Although the actual cause of his death remains shrouded in mystery, numerous rumors circulate in nearby villages. Dawson was a young, adventurous individual brimming with life [who was] taken away too soon. This tale of a vibrant young man, his life and the enigma surrounding his demise resonated strongly with the narrative of Suku and Charlie. In [Riptide], nature is generally portrayed as a serene haven for lovers. However, in the forest, wild nature becomes a place where one can easily lose oneself. I also liked the idea of transporting viewers into a time and space far removed from the main plot, immersing them in another world briefly, and then returning to the core story with a lingering sense of intrigue. It was a very bold and outrageous move for me as a filmmaker, but it was fun. 

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DS: The dynamics between the director and editor play a crucial role in shaping a film. As Riptide’s editor, did your dual role provide a fresh insight into the story and contribute to setting the rhythm?

AV: Absolutely. I meticulously crafted the script for Riptide with an emphasis on extreme detailing. Every aspect, from the appearance of the characters and background elements to production design and costumes, was explicitly outlined in the script, including the cut points. So, the script served as the edited version of the film, specifying when each cut should occur. As the scriptwriter, director and editor, it was very convenient for me to make sure that what I imagined comes on the screen as it was. I had a definite plan for setting the mood of the film. It should be equally dreamy and lucid so that audiences should whether this is reality, imagination or illusion, [and just] just have that experience of being in between consciousness and a dream.  

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DS: Riptide’s narrative elegantly oscillates between the confined spaces of a hostel’s interior and the expansive vistas of beaches, forests and winding countryside roads. Could you share insights into your collaboration with cinematographer Abhijith Suresh in crafting the visual and color palette?

AV: Riptide underwent a meticulous pre-production phase. As mentioned earlier, the script was intricately detailed, and I had personally shot-divided the script before collaborating with Abhijith. Upon reviewing the scenes together, we discovered that many of the shots that I divided were somewhat unrealistic. To address this, we spent numerous sessions meticulously shot-dividing the entire film before commencing production. Even when we ventured into more unconventional and challenging ideas on set, we always had the structured shot-divided script as a guiding reference. Throughout the shoot, the entire production crew remained closely connected, engaging in continuous discussions about the film. Abhijith’s invaluable contributions were pivotal, providing a calming influence and reassurance during moments of stress and self-doubt. Although I may not excel in verbalizing my creative vision on paper, Abhijith and I share an intense connection in filmmaking and creative decisions. He comprehensively understood my vision, consistently delivering exactly what I had in mind. Decisions, such as ensuring an equal representation of nature and confined spaces — particularly the hostel room serving as the sanctuary for the lovers within the labyrinth of judgment and small talk — were made before production. I vividly recall expressing to Abhijith that our film had enough blue, [prompting] the decision to infuse some green into the visual palette. The film has a moody, faded color palette which complements the depressive and somber tone of the narrative.

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DS: Riptide’s aural space is shaped by diegetic sounds, imbuing realism into the story, while the background score contributes an ethereal tone.

AV:  It was essential to have an ethereal background score that aligned with the dreamy atmosphere of the film. However, the background score is used sparingly, as the intention was to communicate more through visuals than external elements. The score is employed only when necessary to elevate specific scenes. Siraj M. Shameem played a crucial role in capturing the essence of the film, creating minimal and subtle scores that enhanced the visuals without overpowering them. Throughout the rest of the film, realistic sounds take precedence. Sound designer Jithin Joseph played a pivotal role in blending the fantasy and realism inherent in the narrative.

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DS: The production design by Hamna Shireen and Sahla PT recreates a bygone era with a minimalistic strategy, embellishing the location with intricate details. What was your brief to them?

AV: The detailed script proved to be a comprehensive guide for the production designers, enabling them to acquire all the necessary elements for the scenes. The art department, with their keen attention to detail, successfully gathered all the required accessories. Despite the challenges of shooting non-linearly and following different schedules, the art department consistently got everything right. Sahla Pt, who also served as the assistant director on the project, played a crucial role. Her reassuring words provided a constant source of encouragement. She always lent me a shoulder to cry on.

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DS: How did you discover Swalah Rahman and Faris Hind for the principal roles of Suku and Charlie? Did you instruct them to strictly adhere to the script, or did you allow room for improvisation?

AV: Finding the two leads for the film proved to be a challenging endeavor, given the detailed character descriptions for Suku and Charlie and the limited budget. After a lot of auditions, I found Swalah and Farry. In the initial stages, I sat down with both the lead actors, sharing my intentions for the film. We rehearsed the entire scenes, during which the real improvisations happened. The actors exhibited a willingness to invest themselves fully in their characters, revealing their true capabilities and my limitations as a scriptwriter. Both of them were honest in providing feedback and expressing concerns about the script or scenes. Even before the shooting, they had internalized the entire script. As we delved into shooting, we gradually relied less on the script, sometimes not using it at all unless doubts arose. So, there was always room for improvisation.

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DS: How did Komal Unawnay become involved with Riptide as a producer, and how did her participation contribute to the making of the film?

AV: Komal came on board to the project at the very right time. There was a point when the final cut of [Riptide] was completed and we were in a state of uncertainty about the film’s future. It was during this difficult period that Komal, alongside Jomon Jacob as the producer and co-producer, stepped in. They were very supportive and wanted the film to be shaped in the best way possible. Without their indescribable love and support, I wouldn’t be this happy to be talking to you.

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DS: Riptide is your debut feature film, and it had its world premiere at IFFR 2024. What does this mean to you?

AV: It all feels very unreal. A film conceived as a diploma project not only had its world premiere at Rotterdam alongside works by revered masters, but also experienced a screening with an audience, receiving wonderful responses afterwards. [It] feels too good to be true. We didn’t have a name for the film in the beginning, and what we wrote on the clapperboard was “Afrads’ Whims Part One,” which still stands as the film’s WhatsApp group name. I remember saying to Abhijit and Sahla that we could do anything experimental with the film since we were the only ones who were going to be watching it. From those initial thoughts to reaching this point, the entire journey feels nothing short of unreal.

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DS: What are your plans regarding Riptide’s release and distribution?

AV: At the moment, we are actively trying to get [Riptide] seen by the most people possible through film festivals, aiming to reach the right kind of audience. Following the festival run, we have plans to release the film to the general public. The specifics of how to bring [Riptide] to a broader audience are still in the works. But we hope to make it soon.

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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