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Whether it is ‘Birohi’s Radha or ‘Indu’s Sundori, Satakshi Nandy has always packed an essence of ‘honest representation’ to the characters she has breathed life into, on screen. Noted for her ‘unconventional’ looks and appreciated more for her dedication to the craft as a performer – the Bengali actress has managed to muster recognition for the work she has done so far, but she is hungry for more and there’s no stopping her. A driving and guiding force of Maithili, she resonates strongly with. Ahead of the premiere of ‘Kalponik’ at the 30th Kolkata International Film Festival, Satakshi chats with ETimes, on how her (and Maithili’s) life revolves around three P’s – performance, passion, and profession.
Tell us about ‘Kalponik’, where you play the character of Maithili, the passionate journalist…
Satakshi: ‘Kalponik’ basically brings several ingredients together in the film, from myth and pieces, ancient legends to modern realities; all these elements interweave in a haunting exploration of truth and power. The USP of film, I believe, lies in the relevance of the concept of the story. We live in a post-truth era, where multiple social incidents are taking place simultaneously – shaping and molding people’s perception of what is truth and what is not. ‘Kalponik’ takes that ‘perception’ into account and narrates the story of a journalist Maithili, who gets ostracized and isolated in her own fraternity because of an inauthentic news. Just when it was rock bottom for her, she gets a lead of a story, she gets invested into that – obviously because she’s very driven, and also because she wants to prove her worth and reinstate herself in the fraternity. The lead of the story takes her to a village called Asaru in Chakrapanipur, and the journey of Maithili unfolds through ‘Kalponik’. It’s a thriller that, I believe, will keep the audience on the edge of their seats.
You’ve played Maithili in Kalponik, who is a journalist. How was the prep for the role?
S: This is the first time I am playing the character of a journalist, and I had quite a while to prepare for Maithili. I used to go to Press Club and observe how the journalists were approaching, and building and developing the stories – whether it is politics, or entertainment, whether it is for a publication or some electronic media. I tried to understand the pulse of the job. I was very intrigued by the idea of ‘news’; the responsibility one has on their shoulders, how researched, how factual, and how verified the information one is catering to – the whole process is very consuming. As an actor, I understood, how the professionals are so engrossed with the entire procedure and the stakes are so high – and I did my best to imbue Maithili with all that. I can safely say that I haven’t been represented like this, ever before. In Kalponik, I portray an outright urban woman, who aims to thrive. Who is not domesticated, who is unapologetic. I even learned to ride a motorbike for Kalponik, for Maithili, and I loved doing so – getting under the skin of her.
This is the most urban role you’ve done so far, you say. Why do you think you haven’t been offered something like that before?
S: See, I have previously worked in theatre productions, where I, along with the whole team have gone to rural areas, and small towns, stayed there, and put up shows for the audience. Back then, a lot of people have enquired if I belonged from that village or that town. My point has never been to find a dissociation between ‘urban’ and ‘rural’. My point is, as an actor – I want to be malleable so that I can fit into any sort of role. And if I, as an actor, get an opportunity to portray different sorts of characters, that’s my opportunity to hone my craft; I’ll gladly take it. But unfortunately, that’s not a very regular practice here. We align certain actors with certain stereotypes, and then get accustomed to them playing similar kinds of roles; which shouldn’t be the case. I think it has something to do with the demand of the media as well, to paint someone in a certain way.
Do you think, sometimes, the stereotypes can work in your favor as well… like a forte of yours?
S: I don’t think so. Quite honestly, it’s not like I’m handed over a script every month. In this industry, it’s not easy to get a lot of work. Whenever something comes to me and I say yes to that, I try to find the most honest key to represent that character on screen. I get so invested in digging for that key that it’s almost like an obsession! Now, if one of my works gets recognized widely where people are talking about it, I’ll pat my back. I’m very grateful to my theatre directors, for them, an urban girl like me who hails from Kolkata, has gotten to see the rural area of Bengal, of the country. And those lived experiences have helped me in essaying Radha, Sundori, or Chapa. I’m still figuring out the concept of ‘forte’, but I know for a fact, that whatever I play – I pour all I have into them. Had I been offered more urban roles instead of rural roles, I’d approached them from the aspect of ‘performance’ as well. Because I come from a background of dance and movement, the concept of ‘performance’ comes easily to me. The way I prep for a rural role, I’d approach an urban role – the same way.
Tell us about the experience of shooting Kalponik.
S: Kalponik is Orko’s (Orko Mukherjee) debut feature film. He is the captain of the ship here! He wrote and directed the film, and even produced the film. I’m very much indebted to Orko for reaching out to me for Kalponik, for thinking of me as Maithili. We started shooting the film in last December and shot in Kolkata and Purulia extensively. We began prepping for the film a little before June. Since then, we have gone back and forth to understand Maithili better. To understand her origin story, to understand how she came to be. In fact, it was while shooting for Kalponik, that I discovered my love for long-formats. I have worked in series before, but for a film – this is my first long-format. I was working on other projects simultaneously because I had to survive. You know, the long format is like academia! It’s like an everyday ritual of coming back to your study materials. Sometimes, I’m reading. Sometimes, I’m watching something that might give me more perspective. I was having a great time, like a long meditation!
What was the film that was like a companion of yours throughout the process?
S: I remember watching ‘The Girl with the Dragon Tattoo’. How Rooney Mara played Lisbeth Salander, was absolutely unapologetic and I wanted to instill that sort of unapologetic-ness in Maithili.
You worked on other projects
while carrying Maithili in your head
because you had to survive. How challenging was it to multitask?
Even though I was prepping for Maithili throughout, she never fiddled with the other characters I played. I could compartmentalize that way. Also, when you turn up at the set, you get into the makeover of the character, your director and DOP and other cast and crew members are already breathing the energy of that particular project – you automatically get into the zone! That’s not a struggle, for that matter!
Do you believe in the demarcation of commercial and art films?
S: Commercial and art films – no. Mainstream and independent – yes. To me, a film is a film. If I like a film, I like it – doesn’t matter what category it comes under. I love buying tickets and going to the theatres to watch so-called commercial films. I went to watch ‘Jigra’ and I enjoyed it so much! So, I don’t see any difference between a commercial film and an art film. I can differentiate between a mainstream film and an independent one, because of the making procedure of it. An independent film is made withstanding various obstacles. Funds raised, money invested, everything done on your own – production of an independent film is a different kind of love affair. Commercial films have certain mechanisms to support the production and that perhaps make things a bit easier. But, I have to tell you this – it’s almost equally challenging for the films to release and help them reach the audience if they have a little bit different storyline!
The world outside looks at the job of entertainment as a very glamorous one. Being someone, who has seen the reality of independent films, how do you look at that perception?
S: You know, we keep joking about it once in a while that when we have work – we have quite a bit of it. When we don’t, there are months without work. And it is quite hard to sustain for us. I am fairly picky about the work I do, but sometimes I don’t have a choice. That’s exactly why even the least bit of recognition is so important and means so much to us. We embrace it because we know how hard it is to survive without the backing of a big house or big names, where your sole pedigree is nothing but your craft.
Where do you see yourself in the coming five years?
S: Quite honestly, it’s very diabolical for me. Sometimes, something interesting comes your way and you feel like this would be your ‘big thing’. And then two-three years go by and you realize that the ‘big thing’ has given you a small leap. So, when the euphoria of the ‘big thing’ subsides, you get the reality check that you have to survive. Then, you don’t really have a five-year plan. Then, in your head, you’re more like – give me an opportunity to perform; as long as it pays me well and sustains me, I’ll do it. That’s the reality! But as an artist, it’s my hope that in five years’ time, I want to play roles that carry the weight of the story on their shoulders, that demand my full attention and investment. I want to be able to collaborate with the filmmakers head-on because that fascinates me so much and I want to be a part of that.
Kalponik is premiering at KIFF. In the past, several films have premiered at Film Festivals, but have failed to find their way to the common people through a theatrical release. Why do you think that happens? Do you think there’s a difference between the audience of Film Fests and the audience who are regular theatre-going people?
S: I think, it’s something that has been fed to the audience. At this point, I really miss single-screen theatres. I remember watching Beautiful of Javier Bardem, spending less than 100 bucks. I didn’t have to buy a ticket for some 500 bucks. I think, that accessibility matters a lot. That accessibility makes things more affordable. If people can watch a film in the comfort of their pocket, I think that’ll be a big up for the ‘scene’. If they like it or not, that’s up to them. But first, they have to have the opportunity to watch a film.
What is your hope for Kalponik?
S: I have the best of hope for Kalponik. After KIFF, I think it’ll take a few more months before we can move for the theatrical release. Sometime in 2025, we’re hoping to release Kalponik in theatres. I remember when I read the script of Kalponik, I saw the imprints of intelligence in the film that has the potential to travel to different festivals. But I also felt like I, as an audience, would love to watch the film on a big screen. So, I really hope that Kalponik finds its way to the theatres because I want people to enjoy the film without any tag whatsoever.
What’s your go-to platform to watch content – big screen or OTT?
S: I grew up watching films in theatres, so that holds my heart to bits! That’s a different nostalgia and I still have a certain affinity to cinema halls! I watch a lot of series as well, and a lot of them are shot in such a cinematic way. So, rather than the mobile screen, I like to watch it on the smart TV screens! I think, watching films in a theatre sitting with other people is a community-building exercise. Unfortunately, that practice is diminishing by the day.
Who is your dream collaborator you want to work with?
S: I have so many names, but I’ll mention two specifically. I’d really like to work with Dibakar Banerjee. And I’d love to work with Konkona Sen Sharma! I watched ‘The Mirror’, and I still get emotional talking about that piece of work. Such an important portrayal of female desire, female gaze, and female perspective! It was almost like watching my story unfolding before my eyes. It’s not tokenism, it’s not appropriation – it’s a story told from a female point of view, by a storyteller. If I ever get to work with Konkona Sen Sharma, that’d be a masterclass!
What are your favorites of Dibakar Banerjee and Konkona Sen Sharma?
S: For Konkona, it’s ‘Dosar’, ‘Geeli Pucchi’! Also, ‘Goynar Baksho’! For Dibakar Banerjee, ‘Love, Sex Dhokha’, ‘Sandeep Aur Pinky Faraar’! I actually did a very small part in Dibakar’s ‘Detective Byomkesh Bakshy’! I really hope that I get to work with him more extensively!
‘Kalponik’, directed by Orko Mukherjee, unfolds across two settings: Chakrapanipur, a once-glorious town now fading into obscurity, and Asaru, an enigmatic village that guards its secrets closely. Here we meet Maithili, a journalist whose unwavering commitment to truth has left her an outcast from mainstream media. Produced by Amrita Chakraborti and Orko, creative produced by Som Chakraborty, and edited by Amitava Dasgupta, Kalponik has been selected under Bengali Panorama competition section, for the 30th Kolkata International Film Festival. Subhadeep Dey has served as the cinematographer of the film and Neil Mukherjee has scored the music. Apart from Satakshi Nandy, the ensemble cast of Kalponik includes Rajatava Dutta, Satakshi Nandy, Sahidur Rahman, Sayan Ghosh, Sudip Mukherjee, Brishti Roy, Kolaj Sengupta, Jayashree Mimi Adhikary, Ajoy Chakrabarty and many others.
