Shillong: “I still don’t have a place to screen my film. I feel directionless,” Simi Khongtiang, the lone woman filmmaker from Jaiñtia Hills in Meghalaya, voiced her frustration. Despite (recently) winning the Best Director award at the Prag Cine Awards for her film Ka Chithi and now advancing to the Bengaluru International Film Festival (BIFFes), her journey is still about the challenges faced by filmmakers in this region.
Jaiñtia Hills, often associated with ‘coal’, struggles to find its place amidst the more prominent narratives of Garo Hills in politics and Khasi Hills in tourism and art. However, it is not devoid of talent. Khongtiang reminisced about a time, around the mid-2000s, when multiple films emerged from Jaiñtia Hills, with each local production releasing two to three films annually, distributed through DVDs. Yet, the onset of piracy had led many filmmakers to abandon their craft.
Regarding the situation, Khongtiang mentioned, “Back in 2017/18 they told us it was mandatory to get films cleared by the censor board before screening in theatres. And most of the filmmakers felt it was too difficult to go to Guwahati and then get the censor certificate.” This additional hurdle, coupled with the logistical challenges of travelling for certification, discouraged many.
“Even after getting the censor certification, it was almost impossible to recover whatever we had spent in making the film,” the Ka Chithi director explained. Financial barriers remained daunting, with theatre owners imposing exorbitant fees, escalating from a smaller value in the first week to demanding increasingly larger shares of revenue in subsequent weeks “In the first week, they would take Rs 30,000; the next week, they would charge 30%, and the following week, 40% share, it just kept on increasing.”
Khongtiang has now emphasised the necessity for governmental intervention, stating, “Until and unless the government comes up with new policies, such as opening theatres in other districts or even in the capital city where the local film industry can grow, it will continue to face challenges and limitation”. She highlighted the absence of film theatres in Jaiñtia Hills, Ri Bhoi, or other districts, which forces filmmakers to convert films for specific screen types, incurring substantial expenses before gaining access to existing cinemas in places like Bijou, Anjalee Galleria and Gold Cinema Hall in Shillong.
Despite the challenges, the filmmaker remains optimistic about the future of filmmaking in Jaiñtia Hills. “I believe that it will change someday,” she remarked, reflecting on her 15 to 16 years in the industry. “If I were like those filmmakers who are not patient enough, by this time even I would have given up and wouldn’t have received this Best Director award.”
That said, she expressed dismay at the government’s disregard for the artistic potential of Jaiñtia Hills, pointing out the abundance of talent in the region but the lack of serious attention from authorities. “There are numerous talents here in Jaiñtia Hills, yet it seems the government isn’t truly committed to fostering them. That’s the reality,” she lamented.
“We witness talents going to waste. Even artistes from Jaiñtia Hills have to relocate to Shillong for exposure,” she said, highlighting the disparity in opportunities. “I, too, had to head to Shillong from Khliehriat for promotions. Here, there’s simply nothing. Jaiñtia Hills has been utterly neglected in terms of art,” she continued. “Shillong serves as a focal point for artistic endeavours. It offers a broader spectrum of resources, events, and platforms for artistes to thrive,” she added, noting the contrast. “In Shillong, there’s a larger audience, better networking opportunities, and more established infrastructure supporting the arts.”
Khongtiang stressed the necessity of a comprehensive film policy to support local filmmakers. “With a proper film policy, we can nurture talented filmmakers and writers, provide subsidies, and ensure support. Without tangible returns, passion alone isn’t sustainable. Hence, many youths seek stability in government jobs before pursuing their passions.”
She further urged the government to institute enduring initiatives aimed at bolstering support for artistes, underscoring the inadequacy of temporary endeavours such as the Meghalaya Grassroots Music Project (MGMP). “While the government has introduced various projects like the MGMP for musicians and others, these are short-lived measures. What we truly seek are permanent solutions. If the government takes the initiative to establish long-term support structures, many artistes (filmmakers specifically) will be encouraged to step forward and exhibit their talents. Subsequently, the government can endorse and sustain these endeavours, fostering a mutually beneficial relationship between filmmakers and policymakers.”
Congratulatory messages flooded in to celebrate the filmmaker’s success, while media organisations clamoured to interview the winner. However, none seemed interested in delving into inquiries about her filmmaking journey, how she sustains it, and other pertinent aspects.
Reflecting on her current situation, Khongtiang expressed a sense of bewilderment. Despite her accolades, she feels directionless. Uncertainty looms over the fate of her film Ka Chithi. “I am so clueless now. Although I won this award, I still feel directionless. I don’t even know how to screen my film Ka Chithi—where to go, what to do”. She bemoaned the financial strain, having exhausted resources in production, and now facing additional expenses for format conversions and theatre fees. The complexity of the situation has left her feeling adrift, even amidst her achievements.
“Now, to recoup the budget we have spent, I am still at a loss. Screening at Bijou or Galleria is out of reach – where would the funds come from? It has all been poured into production costs. Plus, there’s the additional expense of converting formats for various theatres, along with screening fees and profit shares,” she expressed, grappling with uncertainty.
She elaborated on the limited exposure her film had received so far, primarily through screenings at film festivals and community events in rural areas. Despite these efforts, the financial returns were meagre compared to the substantial investment in filmmaking. “Ka Chithi has only been screened in these film festivals, and in the community fetes that take place in small villages. From there, we usually get around 6-7 thousand rupees, and that’s a very tiny amount compared to how much is spent on making films,” Khongtiang said.
Khongtiang pondered the missed opportunities for wider public engagement with her work. Her award-winning film, now selected for the prestigious BIFFes, remains unseen by many. The irony of the situation is palpable – a celebrated piece of art awaiting its moment in the spotlight. “I think it’s high time to release the film now, i.e., screen it in theatres,” Khongtiang said.
In considering options for a wider release, Khongtiang proposed a pragmatic solution. Access to government-supported venues like the U Soso Tham Auditorium could alleviate financial burdens associated with traditional theatres. “If the govt gives us the space, that would be better because we won’t have to pay the theatre owners,” Khongtiang suggested. Such support would enable greater accessibility for audiences while easing the financial strain on independent filmmakers.
Recalling past interactions with government bodies, Khongtiang highlighted efforts to advocate for the filmmaking community’s needs. While there were instances of engagement, such as contributing to the drafting of film policy during the Indian Panorama Film Festival, she questioned the depth of commitment and follow-through from officials.
Reflecting on her experiences, Khongtiang voiced frustrations over the financial challenges of filmmaking in Meghalaya. Despite premiering her film at the Meghalaya International Film Festival (MeghiFF), she lamented the delayed payment issue she is facing. “I premiered Ka Chithi at MeghiFF and they still haven’t paid me. How long can we continue to fund everything ourselves?” she expressed. The burden of funding productions solely from personal resources weighs heavily on her, prompting a strategic shift in her approach to filmmaking.
Khongtiang acknowledged the importance of understanding audience dynamics beyond local borders, especially given the limited opportunities for screenings within Meghalaya. She expressed a newfound clarity in crafting films with broader appeal, not only to cater to local audiences but also to compete in national and international arenas where prize money could provide much-needed support.
“After winning the Best Director award at the Prag Cine Awards and now being selected for the Bengaluru International Film Festival, I have come to understand the approach to filmmaking. I’m learning what kinds of films will not only appeal to the local audience but also those beyond Meghalaya. Since my films aren’t being screened locally, I’m relying on prize money. The Bengaluru festival offers a cash prize of 10 lakhs for the best film, so that’s my current hope. I even told my daughter Ekratia that if the government isn’t supporting us, it might be better to focus on films with broader appeal.”
The persistent absence of government backing for Meghalaya’s film sector continues to vex Khongtiang. “Every day, I ponder the same query. If the government can allocate substantial resources to bolster tourism, why not extend similar support to filmmakers? Why not facilitate tourist access to local cinema? Why not establish cinema halls in every district, offering visitors the chance to savour regional films during their stays?”
Despite promises from the Meghalaya government regarding theatre openings and OTT platforms, little progress has been made, leaving filmmakers disillusioned and uncertain about the future. “They haven’t even reached out to the film fraternity yet. I’m losing hope,” Khongtiang said.
The financial strain of filmmaking has taken a toll on the filmmaker personally, prompting thoughts of abandoning the craft to seek alternative means of livelihood. She expressed concern for future generations of filmmakers, fearing that without systemic changes, the industry’s challenges would persist, affecting aspiring artistes.
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The award-winning director’s candour underscores the need for transparency and accountability in the film industry’s interactions with government bodies. She has called for greater recognition of filmmakers’ contributions and support for their endeavours, similar to the investments made in sports, tourism, and music festivals across Meghalaya.