| Key Point |
| Lucy Walker, filmmaker, shares her personal travel experience through the work of documentary. |
| Bobby Bedi discusses the tendency of Indian filmmakers not to think beyond national borders. |
| Stories of emotion and dissonance are deemed universal and easily accessible for an international audience. |
| Tannishtha Chatterjee highlights the difference in storytelling between India and the West. |
| Vani Tripathi Tikoo emphasizes the universal nature of stories that transcend language barriers. |
| Farrukh Dhondy connects contemporary narratives to Indian mythology and socio-political contexts. |
| The concept of narratives transcends mediums, including theater and cinematography. |
| Reflections on the outcomes of large-scale storytelling, with examples like Avatar, have been discussed. |
Lucy Walker’s Journey: A Personal Narrative
Award-winning filmmaker Lucy Walker shared her journey during a panel at the International Film Festival of Goa. Reflecting on her childhood in London, she explained the difficulty of traveling at a young age. The allure of the world inspired her to forge a career in documentary filmmaking to explore diverse cultures.
“When making a film, I often ask myself a crucial question: what will happen?” she stated, revealing her relentless curiosity in the face of the unknown. This adventurous spirit leads her to document stories where the stakes are palpable, as seen in her recent work on Nepalese Sherpas, “Mountain Queen: The Summits of Lakhpa Sherpa.”
A Diverse and Interactive Panel
Walker engaged in dialogue with other experts during the event, including Farrukh Dhondy, Anna Saura, and Tannishtha Chatterjee. This eclectic group enriched the discussion with varied perspectives on storytelling beyond borders.
Bobby Bedi raised a provocative issue regarding the narrow vision of some Indian filmmakers. According to him, many of them do not dare to venture beyond national borders. He identified recurring elements in narratives that resonate categorically with an international audience.
Universal Narratives and Their Impact
Bedi cited iconic examples, such as Mira Nair’s “Monsoon Wedding,” illustrating how certain narratives touch on common themes like displacement or family relationships. These stories transcend cultures and create a direct connection with viewers.
Walker, in harmony with Bedi, addressed the need for an appropriate narrative format. *”Tackling a vast topic in a film can prove challenging. Stories must anchor on a character that resonates with the audience’s empathy,”* she maintained. This approach underscores the importance of human connection in storytelling.
Emotional Approach to Narrative
Vani Tripathi Tikoo shared her perspective on the scope of narratives. According to her, stories have no borders. They convey deep emotions and connect individuals across linguistic and cultural differences.
The emotional dimension of narratives proves to be a driving force. Obsessed with the need for identification, readers feel a universal desire for connection.
Political and Societal Reflections
Dhondy offered a more critical analysis of shared narratives. Citing Raj Kapoor’s legacy, he explained how films often address the struggles of the underprivileged classes against antagonists often drawn from the elite.
Some films, he emphasized, have transcended borders, reaching audiences often most affected by the message, as evidenced by screenings in places considered underprivileged.
His incisive analysis challenged the very notion of familial bonds in relation to contemporary political figures. *”Tradition states that all of humanity forms a single family, but I do not wish to be part of the same family as Trump or Netanyahu,”* he expressed.
Cultural Differences in Storytelling
Tannishtha Chatterjee highlighted disparities in narrative style between India and the West. She mentioned that Indian cinematography is often vibrant and loud, while Western narratives favor more subtle nuances.
This distinction, according to her, in no way hinders the possibility of developing narratives that incorporate specific themes while resonating universally. *”A local story can engage and, at the same time, resonate with varied audiences,”* she clarified.
Music as a Universal Language
Dhondy also employed musical references to conclude his speech. Bob Marley’s reggae music serves as a relevant example of universal narratives. While deeply rooted in the context of Trench Town, Marley’s lyrics, such as *”No Woman, No Cry,”* touch hearts worldwide, transcending cultural barriers.
He emphasized that certain songs, such as *”Get up, stand up,”* may seem interpreted in various ways by people from diametrically opposed backgrounds. This duality underscores the power of universal narratives, regardless of their origin or context.
