The end is the new beginning in ‘Sunflowers Were the First Ones to Know’: Naik

Press Insider caught up with Chidananda S Naik, the director of the short film, Sunflowers Were the First Ones to Know, which won top honors at the Cannes this year and has qualified for next year’s Oscars in the Live Action Short Film category.

The film earned praise from the La Cinef jury at Cannes, who called it “an illumination that shines with humor and direction from the depths of the night.”

The short film, shot in Kannada, is 16 minutes long and revolves around an elderly woman and her rooster.

In a text interview, the doctor-turned-filmmaker discusses the meaning behind the film’s evocative title and its symbolism.

Naik also delves into the intricacies of specific scenes, sharing his artistic intentions and explaining why they are open to interpretation.

Edited excerpt:

Sunflowers were the first ones to know is quite metaphoric and is open to several interpretations. What guided your moral compass to this idea?

My journey has been shaped by a mix of personal experiences and moments working in hospitals. Those times revealed the raw realities of life, where tough moral choices are part of everyday experience. I realized that true integrity means trusting my instincts and doing what feels right, even when it goes against the grain.

What do you believe the rooster in the film signifies, considering the villagers’ lives didn’t begin after its disappearance?

The rooster provides a sense of structure to the villagers’ daily lives. Even though they continue their activities after its disappearance, they miss the routine and shared sense of time it once offered.

In the film, not only the grandmother but also the mother is blamed. Could you share your thoughts or experiences on women being held responsible for such negative occurrences.

I often discuss everything with my mother, trying to understand our situation and standing up for what we believe is right. It sometimes feels like a never-ending battle. I truly believe that education plays a vital role in addressing such issues. Confronting them head-on is necessary. Just because something makes people uncomfortable doesn’t mean it should be accepted. What’s wrong can never be justified, no matter how hard others try.

How would you describe the shaken hope in the son’s and grandson’s search for the grandmother, shaped by external pressures and inner doubt? Is it worth holding onto hopeless hope and life’s uncertainties? What message would you share with the audience?

In the final shot of the son and grandson, they seem trapped in the circular shape of the well. For me, this represents their feeling of being stuck, holding lanterns that light their way but also confine them. Just as our minds can feel trapped, it’s up to us to navigate through life’s challenges. The themes of being stuck and seeking liberation are important to me, which is why we designed the shot this way. I didn’t expect everyone to interpret it the same way, as the story continues. As they say, “the end is the new beginning.”

The film features striking cinematic effects, especially the scene where a droplet in a pond symbolizes memory: actually one only lies if they say they can forget something especially their mothers, is so deep. How did you go about shooting and editing this scene?

A video grab from ‘Sunflowers Were the First Ones to Know’. Courtesy: FTII

That scene was one of Jahangeer sir’s (Jahangeer M.S., who played the role of the father in the film) favorites in the script, which was a nice surprise for me. I didn’t expect such a veteran actor to collaborate with us, and he asked about it as soon as he arrived at FTII. My team and I spent a lot of time on location to prepare. My DOP, Suraj Thakur, drove us around in his Bolero to find the best angles. When we got to the well, everyone threw stones into it to see the algae separate, which felt very natural. On the shooting day, we made it clear that no one was to throw stones until we were ready to take the shot. During editing, I was interested to see how Manoj Venkatesh would cut the scene, so I asked him about it. He calculated the exact time it would take for the stone to fall and cut it at just the right moment. Manoj and I had a great time working on the edit.

What is the significance of the animal mask when the son and grandson walk through the jungle?

If you look closely, the masks are not just animal masks; they are made of mirrors. Reflections play a significant role in folktales, where characters often encounter themselves in different forms. In this scene, the masks represent the journey of the son and grandson through the jungle, a place filled with beasts. Rather than recognizing the humans, the animals see their own reflections, suggesting a shift in perception and identity as the characters navigate their surroundings.

Is it loss that needs enlightening, or people’s mindsets that need changing?

I think it goes hand in hand. Loss can often lead to a deeper understanding of ourselves and the world around us, prompting us to seek enlightenment. At the same time, changing people’s mindsets is crucial in addressing the root causes of loss and fostering a more compassionate society. Both elements are interconnected and essential for growth.

What does the profound darkness represent? What focus would you like the audience to have?

Profound darkness often serves to sharpen our focus, allowing us to see only what truly matters by eliminating distractions and reflections. I don’t want to impose any specific interpretation on the audience; rather, I value the engagement that emerges from their individual experiences. It’s about what we do with that engagement and how it resonates with each viewer.

A video grab from ‘Sunflowers Were the First Ones to Know’. Courtesy: FTII

How did you decide on the film’s name? What was your thought process?

The title was actually the first thing I wrote down when I was expanding the idea into a screenplay. I focused on the story world we were about to create, and this title has stayed with us since the very beginning.

Can you describe some exciting moments from the shoot with your team?

We had many exciting moments on set. Each day presented new challenges that often delayed our shooting schedule, but my crew always found creative solutions to overcome them and get to work. Everyone involved put in a tremendous effort towards the vision, and it’s truly a miracle when everyone aligns and works toward a common goal.

How was the cast chosen, particularly the main family members?

I sent the script to Jahangeer sir, and he agreed to work with us within a week. That really boosted our team spirit, and he was loved by all. I felt very fortunate to get Vasudha (Bharighat) ma’am’s dates as she is a highly respected senior actress in Karnataka.

A video grab from ‘Sunflowers Were the First Ones to Know.’ Courtesy: FTII

Vishwas B.S., who was already a well-known child actor in the region, came to FTII on his own and stayed with us for many days, truly becoming a part of the team and working hard until the end of his stay. I am always grateful to have had the opportunity to work with such wonderful actors in my film.

How did it feel to win first prize at La Cinef, Cannes? Were there other nominees that stood out?

My heart was full of gratitude. It really meant a lot to receive such a great honor and recognition. I felt my life change when I received the email from Dimitra Karya, the artistic director at La Cinef, regarding my selection. All the films in La Cinef were outstanding, and being surrounded by such talented international filmmakers was truly an unforgettable moment in my life. Each individual was genuine and true to themselves. We had many conversations and a rich cultural exchange, and I made friends for life.

How has the life changed since this win?

While many things around me have changed, I have remained true to myself. This journey has opened doors to new opportunities and learning, and I’ve received appreciation from the filmmaking legends I’ve always looked up to. Although there are aspects of my life that I can’t revert to, which is part of growth, I firmly believe in staying authentic to who I am, no matter what.

Are you considering any projects in the Kannada or Bollywood film industries? Could you share details?

I believe the boundaries between the Kannada, Bollywood, and other film industries no longer exist; we are all part of the Indian film industry. My film is designed to cater to everyone, as films possess a universal visual language, much like music. It will be available in both subtitles and dubbed versions, depending on what is most convenient for the audience. The filmmakers I admire have always crossed these boundaries and inspired us to see them as no longer limiting.

Are there any filmmakers or actors you admire and wish to collaborate with in the future?

I have a great admiration for many filmmakers and actors, and their work has been a constant source of inspiration for me. I’m grateful for the support I’ve received from them, and my goal now is to continue creating impactful films, collaborate and keep learning along the way.