In a significant moment for Sri Lankan cinema, which is experiencing a new boom marked by emerging film circuits, captivating new films, and enthusiastic audiences returning to theatres, Ilango Ram, the director of the acclaimed film ‘Tentigo’, is set to release his debut feature islandwide on March 14.
‘Tentigo’ has already garnered recognition on the international film festival circuit, winning awards and receiving critical acclaim, and it now aims to connect with local audiences.
Adding to this exciting landscape, the Tamil remake of ‘Tentigo’, titled ‘Perusu’, will also be released on the same day in Chennai and other parts of India. This unique simultaneous release is a promising development for both the film and the industry as a whole, signaling a resurgence of interest in cinema within the region.
In this interview with Observer Muse, Ilango Ram reflects on his journey with ‘Tentigo’, discussing the film’s genre, its cultural influences, and the importance of building a strong national cinema.
Through this dialogue, he shares his vision for a more inclusive and vibrant future for Sri Lankan films, emphasizing the need for robust audience engagement and rich film criticism in fostering a thriving cinema community.
Q: After successful participation and recognition in the international film festival scene, and after remaking it in India, Tentigo is now ready to go on board locally and will be on screen from March 14. How do you feel about the journey with your debut film so far?
A: Tentigo is very special to me as my first feature film. It has travelled to many prestigious film festivals and won the Special Jury Award at the Black Knight Film Festival in Estonia, which adds to its significance. It has also been showcased at festivals like the Glasgow Film Festival and Mostra, highlighting how a small film can gain such exposure.
Recently, Tentigo was selected for the Fribourg International Film Festival in Switzerland, where it was acknowledged for its role in focusing on Sri Lankan cinema. This recognition is amazing for Team Tentigo. Additionally, the film is set to be remade in countries like the USA, Spain, Italy, and India, where I will direct the Tamil version. This level of visibility is encouraging for the future of Sri Lankan cinema. I’m excited that Tentigo will be released in Sri Lanka on March 14th. Audience acceptance is the highest form of appreciation; winning awards matters little if we fail to connect with viewers. So far, the pre-release buzz has been positive, and I hope the audience will receive the film well. That’s what I truly desire.
Q: Is it a limited release or an island-wide release? In which film circuit?
A: Tentigo is not a limited release; it is getting an island-wide release. This decision comes from the high expectations of the audience and the positive buzz from critics and film enthusiasts. Initially, the plan was for a limited release, but it became clear that the film deserved a wider audience and more theater screenings. We are grateful that my producer, Hiranya, was able to secure this island-wide release. Typically, festival films or award-winning films are shown in a limited number of theaters because they are often perceived as being distant from the general audience. However, Tentigo aims to break that norm. Despite being showcased at prestigious festivals and winning an award at an A-list festival, the film has generated significant interest from the general public. This response is quite rare in our part of the world. We are proud that Tentigo is challenging these conventions, and as a team, we are very happy with the opportunity for a broader audience.
Cast and crew of ‘Tentigo’
Q: How is the Tamil remake of Tantigo progressing? Are you planning to release it anytime soon?
A: The Tamil remake of Tentigo is titled Perusu, and I’m happy to say that we have just completed the film. We plan to release it on the same day as Tentigo, March 14, in Chennai. It’s quite interesting that both the original and the remake will be released on the same day, which is something new.
Although it’s a remake, ‘Perusu’ is not an exact replica of Tentigo. I took the core concept and adapted it to fit Tamil culture and its nuances. ‘Tentigo’ reflects our Sinhalese and Sri Lankan culture, but I needed to modify certain aspects to resonate with the Indian audience. While we have many similarities, there are also significant cultural variations that I carefully addressed in the Tamil version.
I believe it has turned out well, and I hope to receive positive feedback for Perusu as well.
Ilango Ram and Hiranya Ilango
Q: Tantigo falls into the dark comedy genre. The very first time I watched it, I sensed your desire for the lightness of Malayalam cinema, as well as the serious humour of Sinhala-classical cinema. As I see it, ‘Tentigo’ is a mix of these two elements. However, comedy is a universal genre that attracts all types of audiences. Can you talk about your choice of genre as the writer of the script, as well as directing the cast?
A: ‘Tentigo’ falls into the dark comedy genre. Personally, I don’t adhere to any rigid plans regarding genre; it all depends on the ideas that come to me. I don’t sit down with a specific intention to create a comedy, thriller, or any other genre for my films. Instead, I write based on whatever resonates with me at the time.
I appreciate your comparison to Malayalam cinema. It’s often grounded in reality, making it relatable for audiences. In crafting Tentigo, I aimed for that same connection, where viewers can see themselves in the characters and situations. While there are influences from Malayalam cinema, I believe it embodies the flavor of our own culture as well.
As for directing the cast, my approach is quite subjective. Some directors have a specific vision and expect actors to deliver exactly what they envision. However, I prefer to brief my cast on what I want while also giving them the freedom to surprise me. I believe that actors should have the space to explore their characters and bring out emotions authentically. I don’t subscribe to the idea of “good acting” or “bad acting”; rather, it’s the director’s responsibility to match the right actors with the characters I’ve written.
Once the actors grasp the depth of their characters, they can express the emotions accurately. I always encourage my cast to bring something new to their performances. If they deliver exactly what I envision, it can feel predictable and dull. When they surprise me with their interpretations, it becomes exciting and fulfilling for me as a director.
So, I allow my actors complete freedom while ensuring their performances align with my expectations. It’s a delicate balance, but one that I find essential for achieving the best results.
Ilango and Hiranya on location
Q: It seems to be a good year for Sri Lankan cinema, as there are many films lined up for release soon. It appears that there is a growing audience willing to go to the cinema again. As a first-time filmmaker with international exposure in the film festival circuit, how important do you think it is to have a strong national cinema with rich film criticism, accompanied by an active audience in your own country?
A: It seems to be a promising year for Sri Lankan cinema, with many films lined up for release. As a first-time filmmaker with international exposure in the film festival circuit, I believe it is crucial to have a strong national cinema supported by rich film criticism and an active audience in our own country.
In our part of the world, there is often a perception that award-winning films are not accepted by mainstream audiences. With Tentigo, I want to challenge that notion. Even though the film has participated in numerous international festivals, I want it to perform well in local theaters and be embraced by the audience here.
I believe a film can succeed in both prestigious festivals and connect with general audiences. I don’t want to be seen as a director who only makes films for festivals. I aim to break that cliché because a good film should have the ability to transcend boundaries and appeal to local viewers too. This connection with the audience is what would truly make me happy as a filmmaker.
This year has indeed been positive for Sri Lankan cinema. We have seen a number of excellent films in the past couple of years, such as Mannel, Whispering Mountains, and these days, Rani. Soon, we will also see promising work from young filmmakers, with a lot of buzz around Valampuri directed by Lakmal Dharmaratne. It’s encouraging to witness Sri Lankan cinema moving in the right direction, and having a supportive audience is essential.
I believe that acceptance from the local audience is the highest form of reward for any filmmaker. A strong national cinema, an engaged audience, and rich film criticism are all interconnected. When quality films are produced, they attract good audiences, which in turn leads to meaningful criticism. All three elements work together; one cannot thrive without the others. If you make a film that critics praise but there’s no audience to watch it, then it loses its impact. It is vital to have a strong foundation in national cinema, a responsive audience, and thoughtful film critics. While “good” can be subjective and open to debate, these elements are interwoven and essential for a thriving film community.
Ilango and Hiranya at Tallinn International Film Festival 2023
