The first spark

The idea for Kaadhal Enbadhu Podhuudamai (roughly translating into ‘love is for all’) is not new; in fact, Jayaprakash had it right after his first directorial Lens (2016). “My friend and I were in Bengaluru, discussing a potential Kannada project as the Karnataka government was giving a subsidy for small films. A doctor friend wanted to make a music video and had asked me for an idea. I told him about a dancer coming out and telling her mother that she’s a lesbian. He did not like the idea and that’s when I realised how many consider it a taboo topic,” says Jayaprakash, who wanted to finish it within a small budget only for the producer to back out during the pre-production stage.

“It was when The Mosquito Philosophy had come out on MUBI and director Jeo Baby (of The Great Indian Kitchen and Kaathal – The Core fame) reached out to me to talk about my film. After TGIK was released, he was approached by investors who were also interested in doing a Tamil film and I got into the picture.”

Lijomol Jose 
| Photo Credit:
@lijomol/Instagram

The film features an interesting cast; Lijomol Jose and Anusha Prabhu play the lead roles while the supporting cast includes Vineeth, Rohini, Kalesh Ramanand and Deepa. “Jeo Baby said he could access Lijomol whose Jai Bhim had just come out. Rohini had starred in Jeo Baby’s anthology film Freedom Fight. We could not zero in on anyone for the role of the dad until the last minute, when an AD of mine shared a photo of Vineeth from a Telugu film in which he played a father,” says Jayaprakash, adding that he understands why a queer relationship is still a contentious topic.

All’s fair in love and war

“We are often programmed to think what we are used to seeing… is what is correct. So when something else is witnessed, for some, the immediate reaction is to blurt out that it’s unnatural, perverted or a psychological issue that needs counselling. But what matters in the end is humanity. If two people are in love, it’s their choice; who they are, how they can love each other and anything related to that is their call, and no one has the right to butt into it. That’s the core idea of this film,” says the filmmaker.

“I did not take sides; I just said two people can be in love and questioned how that could be wrong, or tagged as perverted and unnatural. Weren’t we born to you naturally? So how could something that we are doing be unnatural?”

A still from ‘Kaadhal Enbadhu Podhuudamai’
| Photo Credit:
Special Arrangement

Jayaprakash believes in a methodical approach to filmmaking, which is apparent when he says, “I have to tell a story from within that world and that world will have a conflict. I try to convey the multiple dimensions of that problem with multiple characters or situations. Just because I did Thalaikoothal, it does not mean I have an answer if someone asks me for my take on senicide. I treated Thalaikoothal from ahuman perspective, and narrated the story of how the characters’ decisions are reflective of their situations. A work of art should be the current expression of the writer and the director.”

But the concept of love seems to be the underlying theme of Jayaprakash’s last film Thalaikoothal and the core idea of Kaadhal Enbadhu Podhuudamai as well, and the director says that it will always be a part of his works. “Isn’t it (love) everything? It’s not freedom that gives us the purpose of life, but our dependence on someone. I don’t think anything else — like money or materialistic pleasures — can even come close to being loved and being in love. No wonder it’s also a part of my next film.”

“Usually, queer films centre around the relationship and the societal impact on them, or between the two people in the relationship. No one speaks about what happens within the family or how they handle it. The very core of ‘KEPU’ lies in the acceptance of the family towards a gay relationship. In my first film where I played a lesbian, I had to only concentrate on my partner and the emotions involved between us. But here, I had to look beyond the relationship and be in her shoes when she faces the initial repercussions once the family comes to know about it. I hope the film reaches more families in the audience, and is an eye-opener about being sensitive towards the queer community.”Anusha Prabhu

Anusha Prabhu
| Photo Credit:
@anooshaprabhu/Instagram

For the love of cinema

The filmmaker also strongly believes that the lines between commercial films and what’s considered parallel cinema are as distinct as ever. “It might be the case with Malayalam cinema, but I have not seen something like that in current Tamil cinema. Streaming platforms are also buying big films just so that their subscribers will keep streaming. Since their budget gets exhausted on acquiring such big films, they are not taking the smaller films.” He feels that content-oriented films are not being received as well as they are expected to be.

Recalling how a friend asked him why he is not making commercial films, he says, “It’s not that I’m avoiding them but just that I have not gotten a solid idea. That’s when he said, ‘All commercial films are clichés’ and it made sense when we look at the relationships, characters and plots in them. Clichés also work with stars and producers because they are already used to it. That’s why a new story feels risky to them. It made sense to me. Naduvula Konjam Pakkatha Kaanom is one of those rare films with a unique plot and now, Good Night. The time when films like Pizza, Soodhu Kavvum and Attakathi came out, such a trend started… but then it stopped.”

Nudge him about trying his hand at a commercial film, and Jayaprakash says, “I’m waiting for the right story. It’s an uphill battle considering the films I have done have not collected too much money in theatres. Even recently, a production house asked me if I’d assisted a director before. I told them I got the Gollapudi Srinivas National Award for my debut film and I have done four films…. but they were not happy that I had not assisted anyone earlier. I found that to be quite shocking.”

Kaadhal Enbadhu Podhuudamai premiered at last year’s International Film Festival of India in Goa followed by a screening at Pune International Film Festival. The film, which is still doing its festival run, is scheduled to hit theatres soon