Abhilash Sharma’s second feature film, In the Name of Fire (Swaha), is a visceral take on the exploitation of daily wage workers in rural India, highlighting the evils of the caste system and its complicity in siding with oppressors. Set on the outskirts of Manorwa village in Bihar, the 2024 film depicts the painful struggles of a couple and their infant from a marginalized community of rat-eaters. With an uncompromising and unflinching vision, Sharma captures the desperation and increasingly suffocating exhaustion of a deprived family, focusing on their ordeal and quest for survival.  

In the Name of Fire premiered at the Shanghai International Film Festival, where it won the Golden Goblet Award for Best Director and Best Actor in the Asian New Talent category. In this interview, Sharma talks about the ideation of the film, his choice of monochromatic images and how the sound design helped him create a world for outcasts living on the margins of society.

In the Name of Fire Interview: Related — An Interview with ‘In Retreat’ Filmmaker Maisam Ali

Dipankar Sarkar: In the Name of Fire addresses social evils like caste discrimination, witch-hunting and exploitation of daily wage laborers. How well were you acquainted with these issues in Indian society to depict them effectively?

Abhilash Sharma: My connection to these issues comes from personal fear and observations. One incident from my childhood stayed with me. During my school holidays, I used to visit our village. Once, I saw a woman eating rats, and it filled me with fear and disgust. At that time, people around me called these individuals “evil” and warned me to stay away from that part of the village. Even though I didn’t fully understand why, that fear stuck with me for a long time.

Later, I came across witch-hunting cases near Ranchi and even thought about making a documentary on it. Through my initial research, I found out that these incidents weren’t random at all — they were carefully planned over months or even years, often with motives like grabbing land, silencing people or gaining local support. That was a big eye-opener for me.

So, when I started writing In the Name of Fire, I wanted to explore this idea of an internal conflict, where someone gradually loses their sense of right and wrong. As I wrote, I realized that in places where survival is the biggest struggle, morality often gets mixed with the need to survive. Money becomes a powerful force in such situations, leading to exploitation, especially of laborers. This understanding helped me shape In the Name of Fire’s story, where the protagonist’s conflict emerges from their surroundings and gradually pushes them to question their own sense of right and wrong.

In the Name of Fire Interview: Related — An Interview with ‘Manjummel Boys’ Filmmaker Chidambaram

DS: Why did you begin In the Name of Fire with the camera moving through a cave-like structure while Kirtan prayers play in the background?  

AS: The cave sequence was designed to highlight the mystery of the unknown and to reflect the historical position of women. In our information-rich world, we often feel uneasy about what we don’t understand, leading to irrational fears. These fears are frequently labelled as “evil,” prompting us to eliminate what we cannot comprehend. The cave symbolizes this unknown mystery, much like the central characters in the film.

The Kirtan featured in that sequence is a form of local singing associated with the ritual known as Bhuiyan Baba Pooja. This distinctive style of singing often conveys deep emotional pain, contributing to its lack of popularity. Consequently, these singers are sometimes dismissed as performers for ghosts rather than being appreciated for their artistic expression. The idea was to begin with the unknown and then lead to the circumstances that force us to think more deeply.

In the Name of Fire Interview: Related — An Interview with ‘IC 814: The Kandahar Hijack’ Co-Writer Trishant Srivastava

DS: You chose black-and-white cinematography for the numerous hardships the protagonists go through, yet for the final moments of In the Name of Fire, the color tone shifts. Why is that?   

AS: As a director, I was interested in using black and white to show the ongoing struggle between good and evil. This choice goes against the usual ideas of white being pure and black being evil. When we were scouting locations with cinematographer Devendra Golatkar, he pointed out that the landscape’s dynamic elements would look much better in black and white, which made me confident that this was the right choice for the film.

While editing, I realized that the film felt very emotionally draining, so I wanted to create a moment of hope in the middle of all the chaos. The decision to introduce color was a collaborative one. Xavier Joseph, our colorist, suggested I let him take the lead and come back the next day to see what he created. When I saw the moment he chose, it felt magical, and we all agreed that it was the perfect time to bring in that sense of hope. Together, we worked on this transition to ensure it connected well with the film’s themes.

In the Name of Fire Interview: Related — An Interview with ‘Katu Pootha Malay’ Filmmaker P.J. Udayraj

DS: There are repeated cut-away shots of animals and insects within the film, which tend to point out the primal instincts of the characters. Can you elaborate on their significance?  

AS: Yes, the primary idea behind the cut-away shots was to illustrate the raw, instinctual nature of survival, and to create a world where survival is the foremost concern. I aimed to highlight how the characters are governed by their primal instincts in such an environment. Each cut-away shot serves a purpose beyond mere visuals. It conveys a range of emotional states intricately tied to the theme of fear.

For instance, when we see a woman’s face immediately after a snake appears, the fear associated with the snake becomes intertwined with her expression. This moment not only reflects the primal instinct of the snake searching for food but also reveals how our fears can distort our perceptions.

In a survival-driven world, fear significantly shapes our behavior, compelling us to react instinctively rather than thoughtfully. This dynamic interplay between fear and instinct is central to the film’s narrative. 

In the Name of Fire Interview: Related — An Interview with ‘Roopanthara’ Filmmaker Mithilesh Edavalath

DS: Like the sweetshop owner, the political worker and the rival newspaper seller, Nehura has also wronged Phekan. So, why did you give him the only opportunity for redemption?  

AS: I think a key part of redemption is being aware of your surroundings. Nehura works in a crematorium, where he regularly sees how fragile life can be. He lives his life without judging others and focuses on what he needs to survive. However, he starts to feel guilty when he carries a dead body that vaguely reminds him of someone he can’t fully recall. This growing guilt pushes him to seek redemption. In situations like this, the need for redemption often leads people to find a way to achieve it.

In the Name of Fire Interview: Related — An Interview with ‘Laapataa Ladies’ Co-Screenwriter Sneha Desai

DS: In the Name of Fire’s soundscape emphasizes the imagery of a brutal world and immerses the audience into the narrative through gritty ambiance. Had the sound design been planned during the writing stage or did it evolve during post-production?  

AS: Sound design is an area where I believe there’s still a lot for me to learn. Sometimes, a scene that seems great with a particular sound during the planning phase might not work as expected when we finally hear it. In this film, the sound evolved from the writing stage to post-production. While crafting the screenplay, I imagined a world where sound was essential in reflecting the harsh realities the characters faced. The initial ideas were good, but at times, they disrupted the film’s rhythm.

However, in post-production, the sound design came alive. Working closely with Mohandas V.P., we experimented with a variety of sounds and textures to create an immersive atmosphere. He dedicated a lot of time to finding the exact sounds that would enhance the emotional turmoil, and I felt that his choices uplifted the entire story. Ultimately, the sound design was the result of a wonderful collaboration, where more than just ideas came together, and I believe the designer achieved something remarkable.

In the Name of Fire Interview: Related — An Interview with ‘Second Chance’ Filmmaker Subhadra Mahajan

DS:  Tell us me about the casting for In the Name of Fire.

AS: When I started this film, I had initially cast another actress for the role. We did some workshops together to prepare for her performance. Unfortunately, she couldn’t continue due to health issues, and Sonalli [Sharmisstha] stepped in at the last moment. For an independent filmmaker, time is always a critical factor, so we have to be ready to adapt and make the best use of available resources. Despite the tight schedule, Sonalli quickly adjusted and did a fantastic job. All the actors — including Chandra Shekhar Dutta, Bulloo Kumar and the actors from Patna Theatre — were highly professional and committed to their roles. Their belief in the story motivated them throughout the performance.

In the Name of Fire Interview: Related — An Interview with ‘Aattam’ Filmmaker Anand Ekarshi

DS: In the Name of Fire had its world premiere at the Shanghai International Film Festival and it’s going to have its Indian premiere at the upcoming International Film Festival of Kerala. What are your plans for the film?   

AS: We are overwhelmed by the incredible response our film received at the Shanghai International Film Festival and the Lucca Film Festival in Italy. Now, we eagerly look forward to its Indian premiere at the upcoming International Film Festival of Kerala. This selection holds a special place in my heart, as I consider it to be the most prestigious film festival in India, and I’m genuinely happy to present our work there.

We are also planning a special screening in Bihar, where I aim to invite women from various sectors to experience the film. As a filmmaker, it’s essential for me that this story, deeply rooted in the land of Magadh, finds its way to its own community. So, reaching rural Bihar and connecting with the local audience is the next important step in this journey.

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.

In the Name of Fire Interview: Related — An Interview with ‘Ullozhukku’ Filmmaker Christo Tomy