‘When marriage is considered crucial, urgent, and an ultimate goal, especially for women…a fertile ground for exploitation is provided,’ says filmmaker Tanuja Chandra. Wedding.con, her latest project, examines the serious issue of matrimonial fraud.
Tanuja Chandra, renowned director of acclaimed films including Dushman, Sangharsh, and Sur, holds an enduring passion for the female-centric genre, a significance that has consistently illuminated her illustrious career. Thus, it comes as no surprise that she has undertaken the helm of yet another project spotlighting women: Wedding.con, a production addressing matrimonial deceit in the Indian context.
In contrast to the structured nature of fictional filmmaking, the documentary series, which Chandra describes as “a highly pertinent narrative of our contemporary era,” demanded her adept handling of inherent unpredictability. How did she navigate these challenges? Discover more as the filmmaker shares insights into her recent venture and the intricacies of her documentary filmmaking journey. Chandra delves into her experiences, unveiling her commitment to portraying compelling women-centric narratives and offering insights into why her body of work may not be as prolific as audiences would hope. Explore the edited excerpts below:
More than two years ago, Neha Khurana from BBC Studios approached me to direct a series centered around matrimonial fraud. At that moment, the revelation of the rampant occurrences of such deceit in India took me aback. Intrigued, I promptly joined their research-intensive team. The journey was intricate, involving critical decisions on selecting primary contributors, followed by meetings, mock interviews, meticulous pre-production preparations, reenactments of their experiences, and an extensive editing process for the series. It proved to be a demanding yet immensely gratifying expedition.
The series falls in line with your body of work which is largely female-centric. Is that what urged you to take it up?
Always! The female genre is my abiding passion and its importance in my career has never waned. But beyond that, the subject was riveting to me. And it needed urgent attention. It is a very relevant story of contemporary times and I wanted to be the one telling it.
You spoke to five women who were deceived on the pretext of marriage. How willing were they to open up? What was most challenging?
These remarkable women, each showcasing her unique qualities, displayed immense courage by agreeing to share their stories with us. This was particularly challenging in a country like India, where societal norms often subject women to scrutiny for their errors. They were well aware that the journey wouldn’t be straightforward. Even those who chose to remain anonymous had to revisit painful memories.
Personally, it was evident to me that I harbored no judgments. There wasn’t the slightest hint of placing blame on them. Their experiences were marked by ruthless exploitation, and my unequivocal support was with them. I stood firmly by their side, providing a secure environment where they could candidly express themselves. It was crucial that they never felt interrogated or patronized during this process. Our production team took great care to ensure their comfort, going to the extent of having a therapist on set for anyone who might feel triggered and need someone to talk to.
Undoubtedly, coaxing them to overcome their nervousness proved challenging, especially since many had never encountered a camera or production crew before. Yet, this is a common hurdle in the realm of documentary filmmaking.
How different was the experience of directing a docu-series compared to a film?
These individuals are genuine individuals, not performers with a predetermined script. Hence, there exists an element of unpredictability. The outcome remains uncertain. This holds true to some extent for fictional narratives, but the disparity is not as pronounced. In the sections that were reenacted or fictionalized, actors were involved, naturally. However, we needed to develop a fresh visual language because we aimed to limit the visibility of actors’ faces. Consequently, filming was approached in a manner that only revealed half of their faces or placed them in shadows.
I discovered this to be quite captivating. It proved fascinating to direct in a manner that imparts a poetic quality to the shots while maintaining an air of mystery. The process of editing a documentary differs significantly from that of fiction. We possess the flexibility to explore various narrative paths and experiment with the structure. Although it is undoubtedly challenging and intricate, it is also quite enjoyable. Striking the right balance between the plot and emotions always poses a challenge, and our editor, Parikshhit Jha, injected a wealth of sensitivity and excitement into the series.
While speaking to the women, how much of the ‘director’ in you did you have to keep aside to connect with them more?
A director must consistently maintain the vitality of empathy throughout the creation of fiction, as devoid of it, characters may become somewhat lackluster and one-dimensional. In the realm of documentaries, a gentle approach is predominantly required. Any hint of aggression is sure to prompt subjects to close off, and this is always a concern.
It is undesirable to subtly guide them into expressing certain thoughts; everything must originate from their own perspective. Only then will the authenticity of the narrative truly resonate. I was profoundly engaged with our contributors, harboring a genuine care and admiration for them, and I made this sentiment abundantly clear. While my facial expressions and eyes mirrored their emotions, I had to regulate my own feelings to prevent overwhelming them. Thus, navigating these waters proved to be quite a delicate task.
What about the laws pertaining to such cyber fraud in India?
The laws definitely need to align with the ever-evolving tactics of cybercriminals. There is an overwhelming burden on the victim. Primarily, law enforcement faces challenges in tracking down and apprehending criminals, and when successful, their actions are constrained by the relevant sections in the Indian Penal Code. Frequently, the offense is bailable, leading to quick release of perpetrators from police custody, enabling them to ensnare additional victims swiftly. Additionally, numerous frauds are orchestrated by individuals overseas, further complicating the process of tracing criminals. This lack of robust support is insufficient for the victims.
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