How Bittu put Bihar on the global map and won silver at the 47th Student Academy Award


Written by Tanushree Ghosh
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October 28, 2020 8:12:53 pm





Karishma Dev Dube’s Bittu is coming to India at the on-line ninth Dharamshala International Film Festival.

Karishma Dev Dube was in her second 12 months of commencement in New York University in 2013 when a barrage of footage of a midday-meal poisoning information in a major college in Bihar’s Gandaman village in Saran district, which killed 23 youngsters, caught her consideration. The clean expressions, anger and ache of the neighborhood, the lack of accountability, all of it stayed along with her. She needed to make a movie on it however not a straight-out documentary. She began writing from “a place of anger” however it was changing into “didactic, without a point”. As Bihar goes out to vote in the first part, such prison negligence at faculties isn’t even a ballot concern.

A 17-minute movie, nonetheless, received made, and has emerged as one in every of the 18 winners at the 47th Student Academy Award. Last week, Oscar-winning American director Spike Lee – a 1983 recipient of the award – popped up on a Zoom meet to announce to Dev Dube that her thesis movie Bittu won the Silver medal in the ‘Narrative (Domestic Film Schools)’ class. Dev Dube’s fourth movie is now eligible for the Oscars, subsequent 12 months, to compete for the Best Live Action Short Film award. After the BFI London Film Festival, Telluride Film Festival, and extra, Bittu is coming to India at the on-line ninth Dharamshala International Film Festival (October 29-November 4).

In massive frames and close-ups, the digital camera cuts straight to the little, feisty protagonist Bittu and her greatest pal Chand entertaining a pack of jobless males by the roadside. Her vivacity contrasts the barren mountains in the backdrop – abandoned, bleak and lifeless. While the setting of the brief movie is Uttarakhand, Bihar is all the time in the body. The women, grooving to the tawdry however in style Bhojpuri music Lagavelu Jab Lipistik for a couple of cash, belong to the small migrant Bihari neighborhood that comes to those elements for work.

Bittu short film Bittu, a 17-minute movie, emerged as one in every of the 18 winners at the 47th Student Academy Award.

Neglect and tragedy can happen anyplace. By decontextualising, taking the narrative away from Bihar, Dev Dube, provides layers, making it a human story. The folks of her movie are poor and forgotten however lead a full life. Nine-year-old Rani Kumari, who essays Bittu’s function, comes from a household of migrant labourers in Tilwari village in Dehradun district. Dev Dube, 30, now based mostly in New York, had studied at the Welham Girls’, a residential college in Dehradun, and was already conversant in the city. She simply wanted two women who had a relationship with one another and with the land (mountains). As the self-assertive, wide-eyed Rani walked out of her settlement in the direction of Dev Dube, she knew she had discovered her Bittu, to whom she simply wanted to whisper “bring down the expression by 20%”.

Colourist Mahak Gupta (Gamak Ghar, A Suitable Boy) reduces the saturation, and brings out the purple. Red alerts life as a lot as peril. And, then, there’s blue – ink that foreshadows dying by poisoning. Deftly coaching the lens is Dev Dube’s elder sister Shreya Dev Dube (Cat Sticks, A Suitable Boy). “I had my own shot list, she had her own, we would just sit on the location and marry the two,” says the youthful sibling, whose sweeping transitional takes is conventional American. For visible aesthetics, she references pictures, greater than movies. One such picture is from Gauri Gill’s picture collection Jannat (1999-2007), that foregrounds the bond between two women, perched on a tree, the place turns into a blur.

Dev Dube, who grew up in Delhi, amid a battery of ladies, borrows from her milieu. She pours a little bit of herself, her relationship with authority, in writing her characters, whereas inquiring into dysfunctionality in human or institutional relationships, and class-power dynamics by marginalised feminine characters. From the home assist (Priyanka Bose) in her Tanvi Azmi-starrer movie Devi: Goddess (2017), who’s aware of her boundaries, to Bittu, who refuses to be submissive in class or be any lesser in her interpersonal relationships. “I was scared of punishment, and the black-and-white school morality, with no room for a logical conversation,” says the director, “I’m interested in examining the different facets of resilience of non-white women.” Her girls showcase individuality in a standard world and the value that comes with it.

Karishma Dev Dube Karishma Dev Dube’s movie is now eligible for the Oscars, subsequent 12 months, to compete for the Best Live Action Short Film award.

Bittu’s punishment – of not getting her share of the noon meal – for not talking in English and not yielding to her trainer (Saurabh Saraswat) and principal, finally saves her life. But she loses her greatest pal, whose silence she will be able to’t bear, as she admits a couple of moments in the past, in a really Dharmendra-on-top-of-water-tank-in-Sholay type of approach, shouting into the hills. Bittu is a fictional creation. The movie began working for Dev Dube solely when she made it about the women’ friendship, greater than the occasion.

“India’s midday meal is, perhaps, the largest school-feeding programme in the world, and it has done pretty well for the most part,” says Dev Dube, who was excited about the human story behind the incident. “I don’t think anyone in that situation was trying to kill these kids.” Class-power dynamics retains shifting in and dangerous approach, between the mom (principal) and son who’re accountable, between the cook dinner and the principal, and between the trainer and Bittu. Dev Dube was “fascinated” by the principal who “didn’t want to get into an argument with someone subordinate”, and the cook dinner, who factors out that the mustard oil for cooking smells foul (it was saved in a pesticides jar) however nonetheless needed to “follow orders, ignoring her instincts”. “I didn’t really want to indict or villainise anyone, I didn’t want to spare them either. I think the mistakes were very human and stemmed from ego, power and insubordination,” she says.

The movie ends with a way of unfolding. It leaves the viewer asking how the neighborhood would rally round the sole survivor-cum-witness, and how she would emerge, if at all, from the resultant emotional trauma.

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