Roopanthara (Transformation), an Indian feature film from Kannada, begins in a dystopian world and traverses through the lives of individuals from various rungs of contemporary society in Karnataka. Using the metaphor of a caterpillar metamorphosing into a butterfly, director Mithilesh Edavalath presents four seemingly simple stories about loss, grief and redemption.

Roopanthara released theatrically on July 26, 2024, and was well-received by critics and audiences. In this interview, Edavalath discusses the genesis of his hyperlink structure, the experience of working with an ensemble cast and the growth trajectory of Kannada cinema.   

Dipankar Sarkar: What inspired you to pursue a career in filmmaking, and what were some of the key challenges that shaped your path?    

Mithilesh Edavalath: When I was growing up in Kerala, there were a lot of mainstream magazines and TV channels that celebrated writers and filmmakers. These weren’t necessarily film magazines — other types of magazines and TV shows would feature extensive interviews with filmmakers. As they explained their process and how they arrived at their stories, it captivated the storyteller in me. Maybe I always had the desire to tell stories, and seeing these creators receive so much recognition for their work, especially when it was good, fueled that passion even more. This interest likely started around the 7th or 8th standard. By then, I had already decided that I wanted to become a filmmaker. That was my only dream as I grew up, even though I had no clue what exactly filmmaking entailed. I didn’t know what steps to take, but I was drawn to the world of cinema. I used to watch a lot of films, attending every film festival I could nearby. There was something called Open Frame Films that hosted many festivals in my hometown. That’s where I first saw movies by directors like [Mohsen] Makmalbaf and [Ingmar] Bergman, which opened a window to international cinema for me. However, my roots were always in Malayalam cinema. As I continued to explore films, I realized the brilliance required to tell a story in a way that truly connects with the audience — to make them feel something about the situation or the characters. I understood that the director’s role is the most crucial in a film. This understanding solidified my decision to pursue a career in filmmaking. 

Roopanthara Interview: Related — An Interview with ‘Second Chance’ Filmmaker Subhadra Mahajan

DS: Where did the idea or the inspiration for the interconnected tales of Roopanthara come from?    

ME: It was during those film festivals and watching numerous international films that I realized the power of the anthology structure. Initially, I found the concept of anthologies quite boring, but as I began watching more of these films, I came across some very interesting works that changed my perspective. One of the major influences for me was Paul Thomas Anderson’s Magnolia (1999) and, of course, [Alejandro G.] Iñárritu’s Babel (2006). These films, along with other hyperlink cinema, inspired me deeply. At one point, I had three stories and was under pressure to present something to a producer within a limited time frame. The idea that came to my mind was to combine these three stories into one film. However, I realized that three stories might be too few, so I imagined two additional stories and found an interconnection between them. Once I identified the connections, the process became easier. I focused on stitching the stories together to allow the audience to jump from one story to another without missing out on anything. This challenge was intriguing to me. As I recalled the films I had watched, I wanted to create something that would satisfy the audience in me. That desire was the driving force behind taking on this challenge and writing the anthology.   

Roopanthara Interview: Related — An Interview with ‘Aattam’ Filmmaker Anand Ekarshi

DS: Why did you use animation and a voiceover to begin Roopanthara?

ME: The animation was added later in the film. Initially, we had an edited version of one hour and 58 minutes. As people started watching the film, we realized something important. When we introduced the futuristic setting of the film, we assumed that the audience would naturally immerse themselves in that world right away. However, it became clear that we needed to give viewers more time to adjust to this new space rather than beginning the film abruptly. We understood that some people might find it challenging if the film began in a way that left them confused about what was happening. So, we decided to be more explicit in our approach to the story. We decided to add dialogues rather than relying solely on visuals. This would help explain the context, set the tone for the film and help the film reach a wider audience. Once the audience was engaged with the film’s world, we could then play with visual treatments as much as we wanted. That was the primary reason for adding the animation voiceover at the beginning of the film.   

Roopanthara Interview: Related — An Interview with ‘Ullozhukku’ Filmmaker Christo Tomy

DS: A few minutes into Roopanthara, we discover that a nomadic old man from a dystopian future is the narrator of the four stories that will take place in a present-day society. What was the reason for the contrast between these two worlds within the film?     

ME: The contrast between these two worlds stems from our love for stories from the past. Many of the classic tales from this country or the Arabian world began with a storyteller narrating the story. I wanted to start the movie in the same way, with a storyteller connecting the different narratives. But this storyteller needed a purpose, especially since the film explores themes of change — how people change and whether they will change when given the option. Giving the old storyteller a purpose was straightforward. His goal was to change people through the stories he told. He might tell different stories to attract different people; for example, if there are four or five gang members, he tells four stories expecting one of them to like it. It wouldn’t have made much sense to place this in the present world. It wouldn’t have been believable. This is why the idea of a future setting came into play. If you look at the entire situation, not much has changed. We still have good people and bad people, and we’re hoping they will change. But when I consider what’s happening in the world today, I’m not very hopeful about a great future. I’m not sure about the future we’ve shown in the film either. A great future seems unlikely unless there’s an intervention or a transformation from those in power. The whole idea of the film is about change coming from those in power. I had to show what the world could become if we didn’t see this change. That’s why we decided to incorporate a future setting.

Roopanthara Interview: Related — An Interview with ‘Thadavu’ Filmmaker Fazil Razak

DS: A street beggar (Lekha Naidu) is suspected as a child kidnapper and taken to the police station. She confuses others by speaking in a language they don’t understand.   

ME: It was important for me to show that people did not understand what she was saying. Even if she were to explain the truth to them, I don’t think they would believe her. So, the decision to have her speak in a language they don’t understand was symbolic. It represents the idea that, even if she spoke in their language, they still wouldn’t truly understand or accept her in that situation. That was the main reason behind this choice.   

Roopanthara Interview: Related — An Interview with ‘Manjummel Boys’ Filmmaker Chidambaram

DS: Aside from the story of the young boy addicted to the dark web of online gaming, the other three stories end ambiguously.   

ME: I don’t think the other stories end ambiguously. An ending doesn’t necessarily require closure. For example, in the story of the goon, the most important moment is when he realizes what he’s done and breaks down in tears. That cry is the key point of the story. I wasn’t interested in what he might do afterwards to escape his situation. What mattered was whether he changed and what that change meant for him. The connection between his cry and the birth of the child felt like the right conclusion to that story.       

Regarding the farmer, his walking away after realizing what he has done in his life or perhaps questioning the whole system of patriarchy was intentional. The story needed to end that way because it was about his realization and not about what happens next. I didn’t want to show what happens to these characters afterwards. That’s why we included the dialogue in the climax, where people ask what happened to this person or that person. It wasn’t important to show that. If some viewers wanted closure, that dialogue was the closest I could provide. Even with the beggar lady, once she got her child back and was in a happy place, I felt that was the right moment to end her story.   

Roopanthara Interview: Related — An Interview with ‘Riptide’ Filmmaker Afrad Vk

DS: Roopanthara hinges on the performances and chemistry between the leads. It features a diverse cast of actors, from veterans like Somshekhar Bolegaon and Hanumakka to young actors such as the aforementioned Naidu and Anjan Bharadwaj. One of the stories features two Kannada filmmakers, Raj B. Shetty and Jaishankar Aryar. What was it like working with them?    

ME: It was [a privilege] to work with actors like Swamshekhar, Sir Hanamaka, Lekha, Nairu and Anjan. Some of them are newcomers. Swamshekhar, Sir Hanamaka, Lekha and Anjan debuted in this film. However, their second or third movie [was] released before ours. It was also Jaishankar’s first film. Working with them was the most exciting part of making this film. We’re still friends, and we meet every week or things like that.   

Every actor had their process. I couldn’t deal with Lekha the way I deal with Bharat, the police constable. Similarly, I can’t deal with Girish Jyoti, the head constable, the way I deal with Siddharth, who played the SI. So, that was quite a learning curve for me. They are so good that they took the film to another level. With actors like Bharat, I just need to tell him what to do. While with Anjan, I need to explain the mood of the character. Lekha, for instance, would take the character description and fully embody it. She would prepare herself to walk and behave exactly like the character of the beggar lady she portrayed.   

Working with filmmakers like Raj, Jaishankar and Aniruddha was also a wonderful experience. Aniruddha, one of the writers of Kantara (2022), and Salman Sharif, who played the ex-military officer in the film, were particularly focused on their characters. Despite being filmmakers themselves, they didn’t offer suggestions regarding their roles. As it was their first  film as actors, they were a bit unsure. Raj helped me for a couple of days with one of the actors. Otherwise, they left the creative decisions to me.   

Moreover, we had a lot of rehearsal sessions. Every actor participated, and we ensured that each character had the opportunity to perform with others, whether in pairs or alone. These extensive rehearsals — along with individual sessions where we hung out, walked together and even visited police stations for research — were incredibly valuable. For me, it was a significant learning experience, and I had a great time working with these talented individuals.  

Roopanthara Interview: Related — An Interview with ‘Katu Pootha Malay’ Filmmaker P.J. Udayraj

DS: Roopanthara also has various settings, ranging from futuristic to rural and urban locations. How did you and your cinematographer, Praveen Shriyan, decide on the visual treatment for each of the stories?    

ME: Our primary goal with the visual treatment was to ensure that each of the stories received the treatment it deserved. ⁤⁤For example, the way we treated the farmer’s story was different from how we treated the young man’s story. ⁤⁤This distinction was crucial because it was important to use the appropriate craft and style for each narrative as we shifted from one story to another. ⁤⁤Otherwise, the transitions wouldn’t have worked as effectively. ⁤⁤We were very clear about this approach. ⁤      

I had visual references and paintings for each of the stories, whether it was about the lighting, the positioning of characters or other elements. ⁤⁤These references weren’t something we storyboarded, but rather inspirations that I shared with Praveen. He took those references and took them to [a] level that made the film incredible. ⁤⁤His working style is amazing, and he continues to improve with each project. ⁤⁤If you look at his growth from his first movie to this one, it’s been a remarkable journey. ⁤    ⁤  

The way Praveen uses lenses is particularly impressive. ⁤⁤I might tell him we need a close-up or a mid-shot, but the choice of lens is entirely up to him. ⁤⁤My only feedback might be to suggest a minor adjustment if something doesn’t seem to work. ⁤⁤Praveen is very particular about storytelling. He won’t waste a single moment just to make something look beautiful or aesthetic. ⁤⁤He’s clear that the cinematography must serve the narrative, and it was a wonderful experience working with him.   

Roopanthara Interview: Related — An Interview with ‘Rapture’ Filmmaker Dominic Sangma

DS: Editing plays an important role in interlinking events in hyperlinked films. How did your editors, Praveen Shriyan and Bhuvanesh Manivannan, contribute to shaping Roopanthara‘s narrative?    

ME: While we followed the script closely at major stages, we also made adjustments in certain sequences. Initially, Praveen was the editor of the film, and we kept it in that form for a long time. But he was already busy with other work and couldn’t dedicate enough time to our project. 

As a result, Bhuvanesh joined the project. He worked on the film and refined it into the current product. Both editors have different approaches. I had a great time with Praveen in Udupi, where we spent almost two and a half months editing the film, often going out to eat together. Praveen’s working style was unique. He would adhere to the script but often present something very different in the final cut of the scenes. Bhuvanesh made significant contributions to the young boy’s story, editing out more than 20 minutes from the film. Working with him was always collaborative. For instance, I would sometimes say, “Bhuvanesh, don’t cut that because I included that sequence for a specific reason.” He would take that feedback and respond with, “Let me show you another cut with all the information you want.” This approach was brilliant. He respected every artistic choice and reasoning, and strived to make the film as perfect as possible. While both Praveen and Bhuvanesh have different styles, their intentions are the same: to create the best possible film. 

Roopanthara Interview: Related — An Interview with ‘Laapataa Ladies’ Co-Screenwriter Sneha Desai

DS: At the recently announced 70th National Film Awards, popular Kannada films have garnered significant recognition. Kantara won two awards — Best Actor and Best Popular Film Providing Wholesome Entertainment — and K.G.F: Chapter 2 (2022) won the Award for Best Kannada Film. At the same time, art house films like Shivamma Yarehanchinala (2022), Hadinelentu (2022) and Mikka Bannada Hakki (2024) have traveled to film festivals worldwide and won accolades. How do you see the growth of Kannada cinema in balancing commercial success and critical acclaim?     

ME: I think the growth in the industry is very visible now, as things are working out in both art house and commercial spaces. I’m hoping for a positive change in the current scenario. People might not be coming to theaters as expected, [and] I believe this needs to change. We can’t blame the audience all the time. We can trust that people will return if we provide them with good and quality films. We are competing with other industries as well, which is a good sign. Films like Shivamma Yarehanchinala and others are receiving accolades and respect from everyone. I am very hopeful that the industry will grow and become one of the most anticipated sectors. If you look at the entire South Indian film scenario, Malayalam [cinema] might be the industry that people are eagerly waiting for [with] their films. I also hope that Kannada cinema will reach similar heights, as it has amazing talent, skilled technicians and brilliant minds. I am optimistic about the future of our industry.

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.

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