'Paradise' helmed by Sri Lankan director Prasanna Vithanage, is produced by Newton Cinema, and presented by Mani Ratnam's Madras Talkies.
A still of Prasanna Vithanage; Roshan Mathew and Darshana Rajendran in 'Paradise'. (Supplied)
Acclaimed Sri Lankan filmmaker Prasanna Vithanage is no stranger to India or Indian films. His visits to India are so frequent that he considers it his second home.
“I would say that India launched my career years ago. It was only after gaining acceptance in India that I found the courage to present my films at various festivals in Europe,” Prasanna Vithanage said.
Discussing Paradise, which hit the screens globally on 28 June, in nearly 100 theatres, across major Indian cities, Prasanna Vithanage explained that the film is set against the backdrop of Sri Lanka’s 2022 financial crisis, narrated from the perspective of a Malayalee couple.
The lead roles are portrayed by Malayalam actors Darshana Rajendran and Roshan Mathew.
Paradise is a perfect blend of artistic brilliance and commercial entertainment, demanding to be experienced on the big screen, said Anto Chittilappilly, producer and CEO of Newton Cinema.
In Paradise, Vithanage, as is his signature style, uses the inner conflicts of his lead characters—who are compelled to abandon their political apathy—to drive the larger narrative of social injustices.
Bankrolled by Newton Cinema, Paradise has already made a significant impact on the festival circuit, winning the prestigious Kim Jiseok award at the Busan Film Festival, last year.
A still from ‘Paradise’. (Facebook)
Vithanage reminisces about a time when his wife, actor Damayanthi Fonseka, had to pawn her jewellery to finance his film. “I was fortunate. Since 2008, Indian producers have partially funded all my films. As a result, for the past 32 years, I’ve been able to focus solely on filmmaking, without considering an alternative career.”
Vithanage noted that renowned Indian film technician and editor Sreekar Prasad has been part of his filmmaking journey for 27 years and has also edited Paradise.
The director added that despite his frequent visits to India, Kerala has always been his favourite, owing to its similarities with Sri Lanka. “Naturally, I gravitated towards Malayalees for my lead roles. When you craft a story, having an understanding of the people you’re depicting makes it easier to portray them.”
Another recurring theme in Vithanage’s films is his portrayal of strong women. On Paradise, which features characters from Sri Lanka and beyond, prompting him to broaden his perspective to include their viewpoints despite his gender, Vithanage elaborated on his method of portraying women free from the male gaze.
“In my films, I actively question the male gaze… In art, this exploration should occur. The artistes who inspire me—like Leo Tolstoy, Gabriel Garcia Marquez, and Fyodor Dostoevsky—have done so. While I may not achieve this in real life, in my writing, I strive to understand human beings from a woman’s perspective,” Vithanage stated.
Acknowledging his niche audience within Sri Lanka, Vithanage admitted that the local scope is quite limited. “Last year, six million people watched films in the 200 theatres across Sri Lanka, but comedy dominated the trends.”
Produced by Newton Cinema, ‘Paradise’ is presented by filmmaker Mani Ratnam under his Madras Talkies banner. (X)
Over time, Vithanage honed his storytelling to appeal even to those unfamiliar with Sri Lanka’s context. However, he emphasised that ignoring the issues affecting his country was never an option for him. “As a filmmaker, the events around me affect me, and I feel responsible for using visual media to communicate them.”
Perhaps, he can encapsulate broader societal issues within personal narratives that have earned him acclaim not just in Sri Lanka but throughout South Asia.
For example, his second film, Dark Night of the Soul (1996), which draws loose inspiration from Tolstoy’s Resurrection, subtly alludes to Sri Lanka’s 1988/89 Naxalite uprising. While focusing on the moral conflicts faced by its male protagonist and themes of betrayal, the film delicately explores societal injustices, sparking curiosity about its broader implications.
“While my views may be subjective, I’ve always strived to present objective truths in my films, without distortion,” Vithanage added.
Recognising the inevitability of censorship when depicting truths, Vithanage asserted the necessity for artistes to challenge it.
“Because politicians choose nationalism to drive their careers, they may not like any narrative other than theirs. So, censorship is real. Artistes must fight against it,” said Vithanage, recalling how he managed to release one of his banned films, Death on a Full Moon Day (1997), after a year-long legal battle.
Vithanage viewed such challenges as opportunities for filmmakers to refine their craft.
“The political climate in Sri Lanka has compelled me to tell stories in more imaginative ways,” he concluded.
(Edited by S Subhakeerthana, with inputs from PTI)
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