"Nature Is My Canvas”: Filmmaker Rima Das On Crafting Stories From Northeast

Back in 2017, Rima Das burst into the film festival circuit as the one-person crew behind the acclaimed Assamese film Village Rockstars. Embodying the ‘indie spirit,’ it turned out to be a joyous celebration of carefree childhood. The film was also India’s official entry for the 90th Academy Awards in the Best Foreign Language Film category. She has returned with a sequel to her 2017 National Award-winning Village Rockstars. Premiering at the Busan Film Festival last year, where it won the Kim Jiseok Award, Village Rockstars 2 is now headed for its European premiere at the 75th Berlin International Film Festival in the Generation 14Plus section.

Despite her success, Rima remains grounded and calm, a quality that she attributes to both her upbringing and personal struggles. "I believe humility brings peace," she told us in an exclusive interview. "I’ve been shaped by my challenges, and I try to stay focused on what truly matters."

Her calmness, she believes, is a natural part of who she is—something that has served her well in directing both seasoned actors and children. "When I started working with the children in Village Rockstars, they became my crew. There was no doubt in their eyes about what I was doing, and that gave me the freedom to be myself," she added.

Hailing from Assam, she grew up immersed in nature, which fueled her passion for storytelling. Her films, celebrated for their raw emotion and beautiful portrayal of rural life, offer a fresh perspective on the nuances of human experiences. In a candid conversation, she reflects on her journey—from aspiring actor to celebrated filmmaker—and the evolving landscape of regional cinema in India.

Capturing the essence of her home, of Assam

Before her breakthrough as a filmmaker, Rima ventured to Mumbai with dreams of becoming an actor, but she soon realised that her true calling was in filmmaking. Despite lacking formal training, she immersed herself in world cinema, drawing inspiration from the stories of her homeland, the Northeast. 

As she immersed herself in world cinema, Rima’s interest in filmmaking grew. "When I started watching world cinema, I kept thinking about the untold stories from Assam, stories that were not being represented in mainstream films," she recalls. And so, with no formal training but a burning desire to create, she began her filmmaking journey.

Her debut film Man With the Binoculars: Antardrishti was born from a deep, personal need to tell stories, even if it meant facing challenges with limited resources. "I didn’t have the confidence or courage to find a producer," she admits, "so I used my own camera and began filming what felt like a painting, a visual story that connected me to my roots."

Rima’s films are not just stories—they are a love letter to the land she calls home. Her films, especially Village Rockstars and Tora’s Husband, feature the raw beauty of rural Assam, with nature often playing a central, almost spiritual role. "Nature is not just a backdrop in my films; it’s a character in itself," she explains. From the sun, moon, rivers, and trees, nature is a constant presence that influences both the tone and narrative of her work.

Growing up in Assam, surrounded by nature, she found solace and inspiration in its simplicity. "It wasn’t a conscious decision to make nature a central theme. It just happened," she says. Over time, however, it became clear that the natural world was intrinsic to her stories, offering not only a setting but a source of emotional depth.

Breaking Barriers for Regional Cinema

Despite the growing recognition of regional cinema, Rima feels that Assamese and other regional films still struggle for national and global visibility. "The stereotype of regional films being less significant than Bollywood is slowly breaking, but much more needs to be done," she asserts.

According to Rima, the rise of filmmakers using unconventional tools like mobile phones is a positive sign. "There’s a growing audience for new voices, but the real challenge lies in visibility and promotion. We need more support from governments, producers, and professionals in the mainstream film industry."

She emphasises the importance of collaboration across the film community, building strong networks, and ensuring that films are not just created but also seen. "It's about creating long-term value and leaving something behind for future generations to appreciate," she adds.

On Gender, Identity, and the Humanist Perspective

While Rima’s films often explore themes of gender identity, such as in Tora’s Husband and Bulbul Can Sing, she doesn’t identify strictly as a feminist. "I see myself as a humanist filmmaker," she explains. "I believe in equal opportunities for all. My work highlights the female perspective, but I also focus on the stories of marginalized individuals, regardless of gender."

Her storytelling is rooted in collaboration and balance, where both male and female characters are given equal importance, all in the pursuit of a shared humanity. "Filmmaking is about connection, and I try to showcase the humanity in every character, whether they are male, female, or part of a marginalized community," she says.

The Road Ahead

Looking back on her journey, Rima acknowledges how much her career has evolved since she first started. "From my early days of self-learning and limited resources, to now having the opportunity to collaborate with producers and filmmakers across the world—it’s been transformative," she reflects.

She believes that independent films are becoming more respected, with greater recognition at film festivals and award platforms. Still, she acknowledges the need for a continuous effort to promote these films and build a sustainable infrastructure. "It’s not just about making the films; it’s about ensuring that they are seen, heard, and appreciated," she adds.

For those who, like her, have no formal training but dream of making films, Rima has simple advice: "Just do it. Stick to your vision and keep pushing forward." She emphasizes the importance of believing in one’s own creativity and the power of collaboration. "At the end of the day, filmmaking is your dream. The people you work with are collaborators, but it’s your vision that drives the story."

When asked about films she wishes she had directed, Rima cites In the Mood for Love and The Tree of Life as personal favourites. "But I’m glad I didn’t direct them," she admits. "They are perfect as they are."

As for food, Rima misses the traditional dishes of Assam, particularly the fresh, homegrown vegetables her mother prepares. "The flavours of home are what I miss most when I’m abroad," she says, laughing.

And when it comes to the toughest scenes she’s shot, Rima recalls filming in extreme weather conditions. "Whether it’s a storm or floods, those moments are full of challenges, but they’re also beautiful memories I cherish."

Mohua Chinappa is an author, poet, podcaster. She runs two podcasts. The Mohua Show and The Literature Lounge. She is also a member of an award-winning London based non-profit think tank called Bridge India.