how does it feel to edit suede bondaThe first Marathi feature film to premiere at the Sundance Film Festival, and the first Indian film to win the Grand Jury Prize (Dramatic)?
To be honest, it seems a little unrealistic. I first read the script in 2022, when Rohan (director Rohan Parshuram Kanawade) and Neeraj (producer Neeraj Churi) were still trying to raise money for the project, and even then, it really came to fruition. It was very vibrant and full of life. When the footage finally arrived and we started editing, the whole process seemed almost meditative. Within just a few shots, we knew we were working on something really special. Of course it had its ups and downs, but it was extremely profitable. Still, to see how far the film has come is beyond my imagination.
When you were approached to work on this film, what aspects of the script made the most profound impression on you?
When I first read the script, I was amazed at how detailed it was. It contained notes about framing and sound design, and had a gentle rhythm. The dialogue felt incredibly down to earth. I remember being surprised by some of Rohan’s comments. There is a scene where the protagonist, Anand (played by Bhushan Manoj) is asked by a villager about his income, and he replies that he does not like to discuss it. Another villager commented that city people usually do not share such details. This moment unfolds when the other protagonist Balya (played by Sooraj Suman) is being paid for his work. This is money he has apparently been owed for some time. The difference between the two worlds felt so stark and practical. It tells a lot without saying it directly. There are many moments in the film that turn the typical urban perspective on rural life and it was really refreshing to see.
What stands out in terms of characterization, visual language, and sound design?
What stood out to me most about the tone of the film was the empathy with which each character was written. Even when other people do not fully understand Anand’s ideas or choices, he is still portrayed with compassion. There is no real opponent here. Each person acts out of concern for Anand’s happiness, and even when his words hurt him, there is no malice behind them. I was particularly impressed by Anand’s mother Suman (played by Jayshree Jagtap). The way she understands and accepts her sexuality while grappling with the loss of her husband is portrayed with such tenderness.
There is an underlying layer of love and tenderness in all the characters, and that sensitivity extends to the visuals and sound of the film as well. The deliberate, measured way in which it is shot and designed contrasts beautifully with the harsh, arid landscape. This highlights the emotions even more. The film doesn’t rush to explain. It invites you to simply observe and experience. Close-ups are rare, and when they appear, they really mean something. There is also no background score, but the natural sounds of birds, cattle, goats, wind, temple bells and even the afternoon calm create a rich, vibrant soundscape that draws you into the rhythm of the place.
In suede bondaEditing plays a major role in storytelling as it respects silence, and encourages the audience to fill in with empathy and imagination. What was your thought process like?
While editing, we realized that the more we allowed the film to breathe, the more powerful it became. Our main task was to shape its emotional rhythm, to decide when to let the emotions grow, when to restrain them and when to finally let them come out. The use of blank screens between certain moments was Rohan’s idea, and we placed them to give the audience a moment to absorb what they had just seen. It felt like taking a deep breath before continuing the journey. There is rarely a sense of urgency in the film, except for one scene where Anand argues with his family.
The way it was shot also helped us discover the visual grammar of the film. Close-ups appear only at carefully chosen points, when intimacy really needs to be felt. We were conscious of maintaining the observational vision of the film, allowing audiences the freedom to explore the scenes and characters on their own terms. The editing gently moves the audience emotionally only when absolutely necessary. I think this approach gives the audience a sense of participation. It empowers them to make their own connections and, in a way, take ownership of the story.
This silence seems to reflect the lack of public acceptance of Anand and Balya’s love in the difficult circumstances of the village. What do you understand by this explanation?
This is a very informative step. A lot of the silences actually come from the setting. The story begins with loss and the isolation of the village further enhances that feeling. Some characters silently understand Anand and Balya’s relationship, and their subtle support becomes part of these silences. For example, Seema’s sister-in-law (played by Pratiksha Kote), shows tacit support for Anand, and his mother, Suman, gently encourages him to be himself. These moments reflect people’s gentle, unspoken ways of living life. However there is in fact a lack of public acceptance, partly because many characters are not aware of Anand’s sexuality, and partly because these silences hold a unique intimacy and also resistance because they create a private space where Anand and Baliya’s feelings can exist away from social judgment. Therefore, I see these silences as expressive gaps that highlight the constraints of heterosexuality, making their relationship seem like companionship to people outside their private world.
What are your best memories of working? suede bonda,
One of my best memories from the editing process was working on a funny scene where Anand’s cousin, Bajrang (played by Hitesh Porje), takes him to a nearby town to get ingredients for a ritual. During the trip, they have an awkward conversation where the cousin awkwardly offers to help Anand see a doctor if he has any sexual problems. Meanwhile, Balya is messaging Anand on his phone. It was a lot of fun editing this scene because Bhushan and Hitesh gave great performances, and we had so many ways to see how comedic the scene could be. We decided to focus the humor primarily on Anand to highlight Anand’s awkwardness.
Another memorable moment was when we were editing a scene where Balya’s father, Gajanan (played by Ram Daund), hits him for refusing to discuss a potential marriage match. We had two great takes and we debated which one to use. One take had a better performance, but the other involved a cat reacting to the commotion. I suggested to Rohan that we could combine the two by linking the cat’s reaction to one to the other with stronger performance. We took a risk and had a great time doing it. In the final film, the cat’s actions fit in naturally and also add some additional tension to the scene.
We also really enjoyed experimenting with blank screens, trying different lengths, deciding whether to continue the sound of the previous scene or quickly introduce the sounds of the next scene. We played a lot to learn how these options affect mood and emotions, and it was an incredibly rewarding part of the process.
The grief that Anand experiences after his father’s demise is depicted sensitively in the film. How did the editing process help you with your grief, since you had lost your father just a few years before that?
I lost my father in 2020, so when I read the script for the first time, it brought up a lot of emotions. When a parent passes away suddenly many things remain unsaid, and I found myself deeply connected to Anand’s peace. This seemed absolutely true according to my own experience. Editing the film became a cathartic process for me, helping me process some of my traumas. I also got a chance to show one of the early cuts to my mother and her reaction reassured us that the film was capable of touching someone on a personal level.
You have edited some other quirky films: Nishant Roy Bombarde’s Darawatha as well as non, And Joy Kaushik’s Witch of Vihar LakeHow do your political beliefs shape your art as an editor?
The belief that films have great power and should give agency to their characters is central to my approach. I see editing as an act of care and responsibility, especially when it comes to queer narratives, which are often reduced to cartoonish or overly simplistic depictions. I attempt to resist this by embracing characters who challenge dominant cinematic structures that reduce queer experiences.
I appreciate it when queer characters are shown as whole people and not defined solely by their identity. For example, in DarawathaThe child protagonist Pankaj is exploring his sexuality, but the story also weaves together caste identity, small-town life and his relationship with his mother, adding depth and complexity to his existence. Similarly, in gerCaste discrimination remains unspoken but deeply felt. The love between the two protagonists seems forbidden and it gives them both the agency to reject familial expectations. Witch of Vihar Lake It stars Mitthu, who faces bullying but also encounters someone who opens up new possibilities for identity and belonging. The film gives agency to Krishna, the village’s so-called witch, by portraying her as the protector of the forest.
These intersections of sexuality, race, geography, and community make queer narratives richer and more authentic. They present the characters as real people living normal lives, not just symbols of activism. It is important to recognize that, fundamentally, all human beings are simply human, and their identities should not hinder understanding or empathy.
Please tell us about your upcoming documentary on football legend Bhaichung Bhutia.
The documentary film on Bhaichung Bhutia is an important tribute to an inspiring man who started his journey from one of the most remote parts of the country and became an international celebrity. His path has not been easy as he has faced racism due to his appearance, being from the North East, and criticism for his innovative style of playing football. I am also one of the producers of this film. It is going to be directed by Karma Takapa. We’re currently developing it and seeking funding, which brings with it challenges we didn’t anticipate. We hope to get the necessary assistance soon so that production can begin.
Additionally, I have also worked on a documentary called Bizarre Indiawhich follows the gay community’s ongoing fight for marriage equality, a right that heterosexual couples often take for granted. This film has been directed by Swapnesh Dubey. It is currently awaiting festival screening and release. I’m also involved in a few other documentary projects: a short film by Rujuta Doshi about an inspiring woman from rural Rajasthan, and another short film by Mark Ohrem-Leclef about a unique couple from rural Maharashtra. I cannot share further details about him at this stage.
Chintan Girish Modi is a journalist, teacher and literary critic. His prose and poetry have been published in various anthologies. He can be reached on Instagram and Instagram at @chintanwriting.
