Ramakaushalyan Ramakrishnan’s Tamil film Poem of the Wind (2024) offers a scathing commentary about stereotypical notions of masculinity during childhood and the repercussions these have in adulthood. Through the protagonist Bharani (Sanjay K, Pranav Venkatesh), the narrative presents a man whose inherent femininity complicates his understanding of his sexual identity. By eschewing a strict adherence to setups and payoffs, Ramakrishnan avoids conventional storytelling techniques in favor of a more fluid approach to shape the unspoken aspects of Bharani’s identity, which continue to linger and affect him throughout his life.  

Poem of the Wind had its world premiere at the 2024 Dharamshala International Film Festival. In this interview, Ramakrishnan discusses his feature debut.

Poem of the Wind Interview: Related — An Interview with ‘In the Name of Fire’ Filmmaker Abhilash Sharma

Dipankar Sarkar: What inspired you to adapt Charles Bukowski’s poem “Bluebird” into a film?  

Ramakaushalyan Ramakrishnan: Growing up in Delhi, my childhood was surrounded by toxic masculinity and normalized abuse. Though shy, I often felt drawn to these ideals despite hating them. At 18, while studying in London, a racist attack left me running in fear. Around this time, the poem “Bluebird” helped me reflect on masculinity and vulnerability. When I finally reached home, the poem came to mind: “There’s a bluebird in my heart that wants to get out, but I’m too tough for him.” I realized it perfectly captured my journey with masculinity. I had gone through three stages: questioning what the bluebird represents [violent and soft concepts of masculinity]; wondering if society would accept my softer side and fearing what would happen if the bluebird inside me died — if the hard exterior fully took over. That’s when I decided I needed to adapt this poem into a film.    

Poem of the Wind Interview: Related — An Interview with ‘Ullozhukku’ Filmmaker Christo Tomy

DS: Poem of the Wind begins with Bharani, as a young boy, living a carefree life. As he transitions into adulthood, we follow his struggles as a budding theatre artist and his journey of navigating his sexual identity. The final phase of Bharani’s life, where he reflects on his regrets as an older man, is condensed into the last 10 minutes. Why did you choose this structure?  

RR: I am deeply inspired by Lav Diaz and Andrei Tarkovsky’s view on cinema as a fixation of time. In shooting this film, I aimed to make it feel like a poem, exploring the stages of life through the main character — Bharani’s childhood, youth and old age.     

In childhood, memories fade over time, but certain moments remain vivid. The landscape of childhood is portrayed as colorful. I used long takes to convey how certain memories from childhood remain intact in our minds, even after many years. The second chapter reflects my view of youth, where details blur and time feels fleeting. I often struggle to remember what happened just hours or days ago, so the scenes here move quickly and lack depth, mirroring how youth slips away so fast. 

In old age, everything converges. 

Cinema allows me to rewrite the past, live in the present and imagine the future. Masculinity, religion, caste and pride can lead to guilt and resentment, creating scars that often result in self-destruction and loneliness. I explore these aspects in the film and focus on how fantasizing about toxic behaviors can breed overwhelming guilt.    

Poem of the Wind Interview: Related — An Interview with ‘In Retreat’ Filmmaker Maisam Ali

DS: Bharani’s sister talks about how society has always depicted women as objects of attraction and weak entities. What is her role in the protagonist’s life?

RR: The film draws heavily from Shakespeare’s Macbeth, particularly through the characters of Bharani and his sister. The sister represents the metaphorical “Three Witches,” hauntingly reminding Bharani of his inevitable fate. Their interactions trigger flashbacks, where Bharani confronts memories from different stages of his life, illustrating themes of masculinity, guilt and tragic destiny. These moments highlight the burdens he carries and the choices he’s made. It reflects the circle of life, showing how the past shapes the present and the future. In his old age, Bharani reflects on these moments with his sister, discussing life, regret and the inescapability of fate.

Poem of the Wind Interview: Related — An Interview with ‘Manjummel Boys’ Filmmaker Chidambaram

DS: When Bharani plays a woman character, the audience doesn’t appreciate his performance. But when he takes on the role of a king, in the end, he vents his emotions and receives applause. What did you intend to reflect through this scene?  

RR: The scene is inspired by the treatment of women in my household and the media. Growing up, I was disturbed by films featuring sexualized item songs, where a single woman danced for a crowd of men, earning whistles and cheers. I also witnessed the abuse female journalists and artists face when speaking out. Through this scene, I aimed to critique the dismissive attitudes of many men, which stem from a savior mentality. At home, when men discussed politics or education, their opinions were respected, whereas women’s voices — particularly those of my mother or cousin — were often dismissed as emotional. This hypocrisy and ingrained gender hierarchy deeply frustrated me. 

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

DS: The hate speech of a politician creates religious riots in Poem of the Wind, leading to the death of a young girl, while banners with Bharani’s face are burned. How does this sequence contribute to the narrative?

RR: This scene is central to the film, and it illustrates how culture and environment shape an individual’s psyche. In India, where over 80 percent of the population follows some form of faith, religion shapes societal beliefs and behaviors. In South India, Dravidian traditions and sacred texts like the Ramayana and Mahabharata are deeply woven into culture through media such as literature, cinema and plays. These texts perpetuate a “male savior” mentality, influencing societal behavior. The impact of such a cultural narrative is especially evident during social unrest. Riots become platforms for politicians to display machismo, influencing both participants and bystanders.

Through Bharani’s experience, I aimed to explore the broader implications of communal violence on individuals who are not directly involved. Inspired by the Coimbatore Hindu-Muslim riots of 1997-98, the sequence examines how the atmosphere of fear, anger and sorrow permeates lives, shaping thoughts and actions long after the physical violence has ended. 

Poem of the Wind Interview: Related — An Interview with ‘Katu Pootha Malay’ Filmmaker P.J. Udayraj

DS: Poem of the Wind mostly comprises close-up shots of the characters in their dilemmas. The camera tracks toward Bharani when he sits under a tree, plagued by disturbing voices from the past. What motivated you to adopt this visual approach?

RR: I was deeply influenced by filmmakers like Ingmar Bergman, who showcase faces as landscapes, which sparked my desire to explore the changes in a person’s inner landscape over time. I want the audience to experience the transition from the soft skin of childhood to the rough, scarred skin of old age, with the face serving as a canvas of emotions and experiences.

The film is an audio-visual symphony, reflecting Bharani’s poetic perception of life. The sounds and music mirror the voices and noises in his mind, from his sister’s cries to teasing friends, echoing his fears and unresolved questions, especially about gender.

The film’s style is also heavily influenced by the works of Tarkovsky and Béla Tarr.

Poem of the Wind Interview: Related — An Interview with ‘Roopanthara’ Filmmaker Mithilesh Edavalath

DS: How was Poem of the Wind received at the 2024 Dharamshala International Film Festival?

RR: The film had a packed screening at the festival, with no one leaving the theatre during the showing. Around 25 to 30 people stayed for the Q&A session afterwards. Reactions to the film were mixed — some loved it, while others were critical. However, I particularly cherished one review from an older man who approached a member of my crew and said, “This is a beautiful film. I think I need to call my wife and talk to her. The film has impacted me a lot.”

After the screening, our film was nominated and became a finalist for the Gender Sensitivity Award by the Film Critics Guild at the festival. We are deeply grateful to the Dharmashala Film Festival team for making our first festival experience so memorable.

Poem of the Wind Interview: Related — An Interview with ‘Laapataa Ladies’ Co-Screenwriter Sneha Desai

DS: In addition to Poem of the Wind being shown at various festivals, are there any plans to release it to a wider audience? 

RR: We are currently unsure about this. We are trying to submit it to a few more festivals. However, we are looking for people who can help distribute the film to a wider audience.

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.

Poem of the Wind Interview: Related — An Interview with ‘Second Chance’ Filmmaker Subhadra Mahajan