Tharindu Ramanayaka, an independent filmmaker from Colombo, Sri Lanka, has carved a niche for himself in the world of cinema with his unique storytelling approach. His latest film, "This is Not a Pearl," tackles the environmental crisis through the medium of contemporary dance, blending form and content in an innovative manner. Tharindu speaks with Utpal Datta about his artistic journey, the influence of his education in India, and the challenges of making a film about a devastating ecological disaster.

Independent filmmaker Tharindu Ramanayaka, hailing from Colombo, Sri Lanka, has garnered international acclaim for his innovative storytelling techniques. His latest film, "This is Not a Pearl," vividly addresses the environmental catastrophe caused by the X-Press Pearl disaster off the coast of Sri Lanka. In this exclusive interview, Tharindu delves into how his studies in India, particularly at the Satyajit Ray Film and Television Institute, transformed his artistic perspective, enabling him to create a powerful narrative through contemporary dance. Discover how Tharindu's unique approach to filmmaking highlights the pressing issue of environmental awareness, making it relevant for audiences worldwide.

THE JOURNEY OF AN ARTIST

Utpal Datta: Tharindu, your latest film, "This is Not a Pearl," has been widely acclaimed for its innovative approach. What inspired you to create a no-dialogue film cantered around dance as a means of expression?

Tharindu Ramanayaka: Honestly, not many people in our country pay much attention to environmental issues, and no one has artistically discussed the X-Press Pearl incident. At first, I considered making a documentary about it, but then I realized it would be tough to get all the resources, interviews, and archive footage. The idea of telling this story through a pearl oyster hit me because it connected so well. Sri Lanka is often called the Pearl of the Indian Ocean. The ship was named X-Press Pearl, and the plastic nurdles spilt from the boat looked like pearls. So, I thought, why not tell the story from the perspective of a pearl oyster? And dance seemed like the perfect medium to express this story without words.

Utpal Datta: How did your background as a filmmaker from Sri Lanka studying in India influence the themes and artistic direction of the film?

Tharindu Ramanayaka: Studying in India changed my artistic perspective, especially at the Satyajit Ray Film and Television Institute. I felt like I was reborn there. Being in India exposed me to contemporary dance, and I realized it was a unique way to convey ideas. You can tell a story through movement, using the body as the primary language. Plus, I got to experience and study these art forms in Kolkata, which was terrific.

CRAFTING THE DANCE NARRATIVE

Utpal Datta: Can you describe the process of composing the dance sequences in the film? How did you collaborate with choreographers and dancers to convey the narrative and emotions through movement and gesture?

Tharindu Ramanayaka: It was challenging for both of us since it was our first dance film and an entirely new medium. I sat down with the dancer, Ama Nethmi, who is also the film's producer, and we choreographed everything together. Our initial idea was to show the pearl oyster and its struggle with the shipwreck. We started by constructing the scenes and then worked on blending movements to fit this idea, dividing the story and choreographing accordingly. However, not everything went as planned during the shoot, so we had to improvise while keeping the emotions and story intact.

OVERCOMING CHALLENGES

Utpal Datta: What were some of the most significant challenges you faced during the film's shooting, particularly regarding logistics, cultural sensitivities, and technical aspects of capturing dance on camera? How did you overcome these challenges?

Tharindu Ramanayaka: We faced quite a few challenges. With a tight budget, we initially planned for a two-day shoot, but on the first day, an unexpected mishap caused a camera to fall into the water. That meant we had to wrap up most of the shoot in just one day, which made everything a bit of a rush. Since it was our first dance film, capturing the movement and telling the story was tricky. Because of the time crunch, we had to rely on long takes, and technically, we didn’t capture the movement as perfectly as we’d hoped. Still, I had to focus on covering the story to avoid losing the whole idea. Shooting by the sea was tough logistically, but the dancer did a fantastic job despite the conditions. Finding footage was another struggle, but we finally pulled it together. Given the issue's sensitivity and how many people were unaware of the incident, we aimed to raise environmental awareness through our film and reach a broader audience.

BALANCING CULTURAL TRADITIONS AND UNIVERSAL THEMES

Utpal Datta: The film explores themes that resonate with Sri Lankan and Indian cultures. How did you balance honouring cultural traditions and exploring universal themes to create a narrative that speaks to audiences from diverse backgrounds?

Tharindu Ramanayaka: While the theme should be universal, the story should be rooted in a specific region to make it more relatable. For example, Sri Lanka is often called the Pearl of the Indian Ocean. The X-Press Pearl ship and the nurdles resembling pearls tie into that. The environmental issues and government corruption we address are global problems, not just confined to one place. Often, these topics aren't discussed due to fear or lack of awareness. In many South Asian countries with corrupt governments, there's a disregard for environmental concerns, with people thinking it's okay to exploit nature for personal gain. So, while the story is deeply rooted in Sri Lankan culture, the broader message about our connection to nature and the need for environmental awareness is universal.

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THE ROLE OF MUSIC IN VISUAL STORYTELLING

Utpal Datta: With the absence of dialogue, music plays a crucial role in setting the tone and enhancing the emotional impact of the dance sequences. Could you discuss the process of selecting or composing the music for the film and how it complements the visual storytelling?

Tharindu Ramanayaka: Once the story was mapped out, we broke it into about five or six scenes. We explained each scene’s mood and the kind of music we envisioned to our composer. We also got his input and allowed him to add his ideas. He started by creating a demo track for us to use during the shoot. After filming, we edited the film and then went back to him to fill in any gaps and rework some parts since the length ended up being longer than we originally planned. The music helps to bring the visuals to life and enhance the emotional impact of the dance sequences.

Credits:

• Writer and Director: Tharindu Ramanayaka
• Producer: Ama Nethmi
• Choreography: Ama Nethmi / Tharindu Ramanayaka
• Performance: Ama Nethmi
• Editor: Dilantha Perera
• Director of Photography: Kularuwan Gamage
• Music Composer: Theevra Productions
• Art Director: Sadun Madurapperuma