The Sky is Ours: How a Mizo movie is challenging stigma against divorced women

Aizawl: On the night of August 2, 2024, many young people in Mizoram flocked to the app store on their mobile phones to download Zonet Empai, a streaming platform, to watch the newly released movie, ‘The Sky is Ours.’

The buzz for the movie had built up months before its release, making it one of the most anticipated films of the past year. Its popularity was fueled by a cast of fresh, young actors with Korean-like features and one of Mizoram’s most famous models, Christina Pautu, as the female lead.

The popularity of the yet-to-released movie was propelled by its OST sung by Mizoram’s top female artist and her band, Lilac & Jacks. The song, ‘Thlah lo turin’ was published on YouTube on June 14, 2024, and now has 1.8 million views. 

While the film’s cast and pre-release anticipation were pivotal to its popularity, it has also made noteworthy contributions to the Mizo film industry. Despite potential drawbacks, it introduced three significant aspects to the Mizo film industry.

The first aspect is that it is the first Mizo movie shot in an international location, with scenes filmed in Thailand. 

The director, Jeremy Hauhnar, owner of Wayward Productions spoke of the challenges they faced in shooting in an international location, saying, “Filming in another country presented its share of challenges. We had to navigate local regulations and secure the necessary permits. Additionally, coordinating travel and accommodations for the entire crew was a logistical feat. Filming internationally did affect our budget, particularly in terms of travel and local resources. Despite the challenges, shooting in another country provided a fresh perspective and allowed us to showcase locations rarely seen on screen. It also helped us connect with a broader audience and bring an authentic touch to our story.”

The second new aspect the movie has introduced to the Mizo film industry is a “kissing scene.”

While it cannot be said for sure if this is the first time a Mizo movie has a kissing scene, it is quite rare for any film from the state’s industry to have such kind of scenes requiring intimate physical touch.

Hauhnar said they took steps to ensure that the actors were fully comfortable with the scene, “Open and honest communication was key. We discussed the importance of the scene in the story and explored any concerns the actors might have had. Their comfort and willingness were crucial for the scene to be portrayed effectively and respectfully.”

He said he had to work closely with the actors to ensure that the scene was executed in a way that aligned with his vision while respecting their boundaries, “This scene was new for Mizo cinema, and it was part of a broader effort to explore new storytelling techniques while respecting cultural norms. It represented a step towards expanding the boundaries of our film industry while staying true to its roots,” he said. 

The third and most important aspect that the movie brought into the limelight was portraying the lead as a single, divorced woman. 

Mizo movies often tackle societal issues, sometimes awkwardly shoehorning them into the narrative. This time, the storyline appropriately integrates a significant social topic: the stigma surrounding divorced women. The lead character, a divorced woman, is a rarity in Mizo cinema. 

Mizo society often treats divorced women or widows as second-class citizens, subjecting them to jokes and social exclusion. People might shower divorced women with love within church premises, they are often shunned in society. If a single, unmarried man falls in love with a “nuthlawi,” it is considered a disgrace to the family. 

Last year, a woman farmer from a rural village in Mizoram, whose husband—an alcoholic—had passed away, shared her plight with EastMojo. She expressed that she would prefer to be married to an abusive alcoholic than live as a single widowed mother, given the harsh treatment she receives from society. She described how she is often the target of jokes and is teased if she dresses too well.

In the film, derogatory comments about the “nuthlawi” (a term for divorced women) are met with silent disapproval from the protagonist, highlighting the societal issue without directly confronting it. Nevertheless, the movie opens up the possibility of normalizing relationships with divorced women, portraying them as deserving of respect and inclusion.

The director told EastMojo he chose to address the social stigma towards divorced single women because it is a topic that resonated deeply with him.

“Having observed or experienced the challenges and judgments faced by individuals in this situation, I wanted to bring these experiences to light and explore them through my film. It’s a subject that’s often overlooked or misrepresented, and I felt a strong personal connection to the story I wanted to tell. The stigma surrounding divorced single women is a significant social issue that affects many people’s lives. By addressing this topic, I aimed to shine a spotlight on the unfair stereotypes and biases that contribute to the marginalization of these individuals. I wanted to provoke thought and encourage conversations about societal norms and the need for greater empathy and understanding,” he said.

In a 2021 study on challenges faced by single mothers in Mizoram by Lucy T.V. Zeho and Zohmangaihi Ralte, it was found that single mothers in Mizoram experience a significant decline in their participation in social gatherings, functions, and church activities following the death of their husbands. 

The study revealed that single mothers face pervasive challenges across various aspects of their lives. This disadvantaged status is largely due to the considerable gender gap in Mizo customary laws related to marriage, divorce, and inheritance, which reflect a rigid patriarchal attitude towards women.

In 2022, EastMojo reported on the Single Mothers Foundation, where an interviewee shared that she avoids having male friends visit her home due to concerns about societal judgment. She explained, “I know what the neighbours will think since I am a widow. I often make excuses, even for close friends, because I consider what people might say about me and how it could impact my son’s future.”

In the movie, the female lead, a divorcee, finds love again after escaping from an abusive marriage. 

“I chose to focus on the idea that a divorced single woman has a second chance because I wanted to highlight the themes of renewal and hope. After a divorce, many women face societal judgment and personal challenges, but I believe in the power of resilience and the possibility of new beginnings. My goal was to portray the journey of starting over and finding joy and fulfilment beyond past difficulties. There’s often a stereotype that once a woman is divorced, she’s defined by her past or seen as ‘damaged.’ By showcasing a character who embraces a second chance, I aimed to challenge and break these stereotypes. I wanted to present a narrative where the protagonist’s past does not define her future but rather becomes a part of her strength and growth. I intended to empower women struggling with feelings of inadequacy or fear about their future after a divorce,” said Jeremy. 

The team worked on the movie for 11 months, including pre-production, filming, post-production, and finalizing the project. 

Jeremy Hauhnar, the director had made a name for himself as a professional photographer, but this was the first time venturing into the movie industry. He discussed his inspiration for the film, highlighting his transition from photography to filmmaking, “As a photographer, I’ve always been fascinated by visual storytelling and capturing moments that convey deeper narratives. This passion naturally extended to filmmaking, where I saw an opportunity to explore storytelling in a more dynamic and immersive way. The transition was driven by a desire to expand my artistic expression from still images to moving images.”

He described the project as both a personal and professional growth opportunity, aiming to challenge himself with the complexities of film direction and narrative structure. Hauhnar sought to blend his visual artistry with storytelling and create a unique aesthetic.

“On a personal level, the experience was rewarding. It reinforced my passion for filmmaking and taught me the value of perseverance and dedication. Seeing the project come to fruition was a powerful reminder of why I love telling stories through film,” he said. 

Rinawmi KC, an artist, who was part of the pre-production team working on storyboarding, shared that she believes the plot was a fresh take on the male-female relationship. 

She told EastMojo, “I was delighted and excited to be part of the team since it was my first time working on a Movie. I worked mainly with the Director of photography to pre-plan the scenes, the team was very helpful and fun to work with. Overall I think the script is quite fresh for the Mizo  movie scene, and the lead  being nuthlawi also  brings a fresh take on the typical male-female relationship, personally I think it sets a new benchmark for movie characters in the Mizo movie scene.”

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