Sahadev Kelvadi: I see politics as inherently satirical

Sahadev Kelvadi, previously the cinematographer and co-producer of Roopa Rao’s Gantumoote, is stepping into the director’s chair with his own film, Kenda, for which he also serves as writer and cinematographer. The project marks the second collaboration between Rao and Kelvadi, who are producing the film under the Ameyukti Studios banner. “I’m fortunate to have Roopa by my side handling production and day-to-day set operations. Her extensive experience as a producer and director is invaluable as I navigate my directorial debut,” says Kelvadi ahead of the film’s release on July 26. The film is hitting the big screens after going through the festival circuits.

Kelvadi elaborated on the differences between his cinematographer and director roles. “As a cinematographer, I could somewhat detach while still planning ahead. But directing demands constant engagement. You’re juggling multiple responsibilities, from script development to actor direction. There’s a heightened sense of responsibility as a writer-director, especially with a debut film. Fortunately, our incredible cast made my job easier. While directing brought me

immense joy, cinematography remains a deep passion. I’m grateful for the opportunity to explore both in Kenda,” he explains.

According to Rao, it is taxing for a director to take multiple roles. She explains what drew her to Kelvadi’s vision and got her involved in producing Kenda with him: “It’s a constant battle, and I understand his situation having been a writer, director, and producer myself. Witnessing Sahadev sketch frames and think like a cinematographer firsthand, I realised the immense pressure. Balancing both roles is demanding. I think he lost about 7 kg during the shoot.”

Rao goes back in time to where it all started with Kelvadi. “Our 13-year friendship and shared journey in filmmaking led to this collaboration. I had a film vision but lacked the resources. A mutual friend introduced me to Sahadev, and we discovered a shared passion for cinema. After his

return from film studies in New York, we started working on Gantumoote while he developed Kenda. He shared the story with me, and knowing him personally, I was confident in his vision,” she narrates. She further expresses her happiness to see the film hitting theatres this week. “It’s been a two-year labour of love with shooting and post-production work. It was a joy to see the film come to life.”

Roopa Rao’s journey from IT to producing acclaimed films has been transformative. Reflecting on the challenges of operating outside the traditional film hub of Gandhinagar, she shares, “I’m still figuring it out. The industry is decentralising and Gandhinagar is no longer the film hub. Historically, Gandhinagar was the epicenter due to its proximity to finance, traders, and business. Unfortunately, it hasn’t been welcoming, but it’s also a hotbed of fascinating stories. Lessons from Gantumoote streamlined our approach for Kenda, including distribution. You can’t predict what six crore Kannadigas will watch from a Gandhinagar office.

Kenda is billed to be a socio-political satire on disorganised crime. Kelvadi elaborates on how the film delves into this theme and the relevance it holds in today’s societal context. “The film follows Keshava, a factory worker whose life is upended by a reunion. I see politics as inherently satirical, and the film offers a satirical lens on this. Through Keshava’s journey amidst social and political turbulence, we explore themes of friendship and the working class, the unsung heroes of society. Set in an era before ubiquitous cell phones and the IT boom, Kenda offers a timeless narrative that resonates with contemporary audiences. I believe it will compel audiences to experience the film in theatres,” he explains. Rao adds, “The film is set in the world of rowdyism, but it’s a departure from the typical macho portrayals in Kannada cinema. We’ve avoided glorifying violence. Our characters are foot soldiers, not larger-than-life figures. We wanted to show the reality of their lives and the reasons behind their actions.” Kelvadi further explains, “Violence isn’t portrayed lightly, and when depicted, it raises certain questions both for the filmmaker and the audience. We’ve addressed these nuances carefully. The story was conceived from my experiences living in the city during the political turmoil of the ’90s. As I grew older, I understood the reasons behind it, motivating me to explore this subject.”

Rao explains their casting choices, saying, “Unlike the rest of the world, India has a unique concept of stars as demigods. For a story like Kenda, we needed actors who could seamlessly blend into their roles without overshadowing the narrative. Bharath, a versatile artist we’ve known for years, was a perfect fit, as were the rest of the cast.” Along with Bharat, the film also features Pranav, Sridhar, Vinod Susheela, and Gopal Krishna Deshpande, among others. The music is by Ritwik Kaikini and lyrics written by Jayant Kaikini