In an industry often driven by star power and big-budget spectacles, independent filmmakers continue to carve their own space, sometimes celebrated, often overlooked. In this exclusive candid conversation with Green Ubuntu, filmmaker Dibakar Das Roy opens up about the evolving landscape of indie cinema, the challenges of distribution, and why strong storytelling still matters above everything else.
Q: As an independent filmmaker, do you feel indie cinema is celebrated enough today?
“I think there’s a long way to go, you know, because I think there was a phase in the middle when, especially when the platforms came in, that was the time when we thought there is going to be a lot for, you know, because the initial thought was the stars are for the big screen and OTT will be for the smaller, more eclectic stories, all of that. And there was a lot of support for the independent filmmakers at one point of time, but they were acquiring, you know, a lot of films. But I think then the platform policies, COVID came in, platform policies changed, theatres stopped performing the way they were performing. So, I think then what happened is independent cinema took a hit, you know, in the sense that the amount of representation that there should be of the smaller stories lesser known. And I’m talking more about the filmmakers as much as I’m talking about the actors, you know, both, right. So, I think that has really reduced. So, there’s a long way to go. But at the same time, what is interesting is at this day and age, what we are looking at, if we are looking at the social media era and the era of creators, I think that has become very interesting because that is the ultimate independence, you know, of someone who wants to create freely. That has given growth to a lot of people who have come from scratch, you know. And then, you know, if you get traction to your story, it’s the audience at the end of the day that will, you know, put you forward. Once you get the traction, then I think there’s always, you know, the bigger players always want to come and, you know, support you.”
Q: Do you think OTT platforms have helped create more opportunities?
“At one point of time, I think it did. I think in the last few years, maybe not so much. But if you look at the overall scenario, I think, especially the style of films that have been successful in the last few years, they’re also the ones which are very centered on a hero. You know, so that’s the kind of story that is doing well right now. So, these are all cyclical things. I think things will turn around back to… if you see a lot of the middle of the road cinema, you know, a lot of the smaller stories, you know, suppose, if you’re saying what Rishikesh Mukherjee used to be doing, even at that time when there were blockbusters, there was a lot of smaller cinema that was doing extremely well. I feel that stress is gone because in theatres, very few people go to watch these small films. You know, they wait for OTT. And very often, OTT might not want those films if they don’t have a star in the world, you know. So, it is a problem. So, as a filmmaker, like, while making films, I want to produce the houses and all, facing the depth of reality.”
Q: How do you personally deal with these challenges?
“I think it becomes part and parcel of the entire scenario because, you know, pitching and creating and just your mindset has to kind of become a very free-flowing kind of a scenario, you know, where you are constantly in that mode. You start thinking, this is important, that is not important. Because things can come out of nowhere, you know. You generally have to be kind of aware to the opportunities that are available in life. And just be, like, I think if you have the joy in just going out there and creating stuff, no matter how big, how small, I have a certain faith in the fact that a good idea will come through. You know, it might take its time.”
Q: What kind of responses do you usually get when pitching?
“I am told, ‘It’s nice, but it’s not what we are looking for. It’s very nice, but, and it will be like, it’s amazing, we need to, but we are looking for this. We want to be the A24’, but, you know, so everyone wants to be the A24 of distribution, but you also see what A24 has done over the years. The kind of stories they’ve consistently backed, movies where they are, you know. So you, I think you have to support, even right now, like, you know, being the flagship kind of movie distribution, come independent, symbol of independent cinema, like this. Yes, that’s, they’re still backing people straight off like YouTube, you know. Creators who are like 20 years old, 18 years old, just on the basis of stories, with no stars. And they’re doing it, they’re doing theatricals, they’re doing well for, you know. I think that kind of mistaking, you know, that kind of creative spirit is definitely needed.”
Q: Tell us about your film Dilli Dark and its journey.
“It’s called Dilli Dark. Dilli Dark. Yeah, based on dark skin. It released in theatres last year, in June. And before that, it premiered at MAMI, December 2023. And then it travelled around the world. The film follows a Nigerian MBA student navigating life in Delhi while dealing with racism and stereotypes. Despite critical acclaim and festival success, distribution remained a challenge. We couldn’t get an OTT because they were like, we don’t have a star, you know. Yet, the film’s journey has been remarkable, screened at over 50 festivals, featured at the New York African Film Festival, and even picked up by international airlines. The film got nominated at the Screen Awards – Best Breakthrough Director and my actor Samuel A Robinson got nominated for Breakthrough New Actor (Male).”
Q: What inspired the story?
“I was, I also used to be personally bullied a lot as a child for being very dark. So, and I think that somewhere down the line it kind of sticks with you over time… after I came to Delhi for college… I started seeing similar things happening with like African students. The film explores race, identity, and shared histories through satire and humour, offering a fresh lens on conversations often limited to Western narratives.”
Q: How did filmmaking happen for you?
“Filmmaking happened because I went to Mass Com, I went to IIMC… I was president of the dramatic society… I used to write small plays… joined an agency… met a lot of my mentors. From advertising to documentaries and television, his journey has been rooted in learning across formats. The good part is that I cut my teeth on different styles of filmmaking… I feel that gives you a much more rounded perspective.”
Q: What’s next?
“I’m developing a couple of screenplays now… and I’m doing another thing, which is going to be a very out-and-out, very low-budget indie production… I want to try out new models of distribution… especially with the younger generation.”
Final Thoughts
For this filmmaker, the belief is simple yet powerful, stories matter more than scale. So, my main motivation is… I want the ideas to be strong enough so that people can… say, we don’t care if it is a small film, big film… this film looks very interesting. I want to watch it.”
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