For debutant director Manisha Makwana, Gudgudi is not just a film. It is a deeply personal excavation of memory, labour, womanhood and survival. Having spent years learning the ropes under filmmakers Raj Nidimoru and Krishna DK, she now finds herself stepping into the spotlight with a story inspired by her own experiences of working at an amusement park before entering the film industry. Selected for the prestigious Cannes Film Festival, Gudgudi follows the emotional journey of an independent woman balancing family responsibilities while sacrificing her dreams. She tells us all about it, about the invaluable lessons she learnt from Raj and DK and why seeing her mother cry after her very first “cut” remains one of the most unforgettable moments of her life.
Congratulations on Gudgudi. Do you have a timeline of its theatrical release?
Nothing as yet. I would like it to be an OTT release so that it is there for everybody to consume. I want to finish the festival rounds this year and then see where I land.
What drew you to telling a story like this?
It comes from a personal place. I worked at an amusement park way before I started my career. The observations were from my work environment and everything that had I had seen in. That is how I drew inspiration for the film. When I sat down to write, I felt like this was the story I wanted to convey at this hour. My gut feeling wanted me to go back to where I had started.
Is it all about you?
Partly. The movie resonates the struggles of everyday life of an independent woman who is trying to make her mark. She is trying to help her family maintain a life balance. It about all the girls who support their families at the cost of giving up their dreams. The character is bits and parts of me. It is personal. It is about the things that I have seen, the friends that I have made and stories that I have borrowed. It is about the experience of working at the park. All that came together.
It must have been tough working at an amusement park…
It’s a different feeling, when you are a part of something like that. We don’t think about an amusement park that way in our day to day lives. We go for a quick picnic and get out. The kind of struggles that one puts through and goes through to be afloat in life is astounding.
From working on sets to finding your own voice as a director… how did that journey go?
I think I was preparing for my moment unconsciously. When I worked for Raj and DK, I had a hobby of learning everything on sets. I was a part of every department. I have learned camera from Pankaj Kumar. I have sat down and asked him questions. I have asked him about pre-lighting and what not. I have always made myself way more useful than my own job capacity. And that’s a skill that I have developed over years to be on the toes and to be accepting to learning new things. It is not just about doing a job. This is not about being extraordinary, it is only about being aware.
Have you received any formal training from a film school?
Raj and DK are my film school. I have learnt everything that I know about films because of these two lovely gentlemen. They have been my mentors through and through. No, I’ve never been to a film school. But I’ve been part of their production company for nearly a decade.
Could you talk to me about one lesson or one piece of advice that you have gotten from Raj and DK?
When you are directing for the first time, there are moments of chills that you get. You don’t know if you are doing it the right way and if edit is going to make sense. And what if the editor is going to say, ‘I don’t have a cut point.’ These things always keep playing in your head. And in moments like these, I close my eyes and think, ‘What would DK sir think?’ And it starts connecting the dots for me. DK sir is kind of a person or director who is editing on the job. He tries to know his cut points while he is directing. He knows his edit.
He has a sharp mind like that. Raj sir’s most valuable advice to me has been about trusting my gut. He tells me that I will find my way if I trust myself. The discipline that I have learned from both of them is also valuable to me.
As a debutant director, what did seeing the first frame of your own film feel like?
I don’t think I can put that into words. I was shooting in Gujarat with nobody from my family around me. It was only my crew. I remember my mother was on a video call. She started crying when I uttered ‘cut’ for the first time.
What part of filmmaking surprised you the most?
I won’t say it was challenging, but you are suddenly responsible for everything that is happening on the set. All eyes are on you all of a sudden. Until now, there was always somebody else taking the final call. On this set, it was me.
Who have been your inspirations as directors and whose films did you grow up watching?
Raj and DK will always be my first choice. That goes without saying. Imtiaz Ali played a big role as well. His films have taught me how emotions should be played out.
Coming to Gudgudi, how did Ahsaas Channa come into the entire setup?
I was looking for a petite girl. Ehsaas is a very versatile actor. She was always in the back of my mind to play this woman inside the mascot costume at an amusement park. But, Mukesh Chhabra sir played a huge role in bringing her to sign the film.
How excited are you for Cannes? Are you planning to take this film to other film festivals?
Yes, I have already applied to multiple film festivals. But Cannes is definitely a dream come true. I knew I was making a bold film. It might be a hit or a miss, when a mascot is in the play. I trusted my gut to tell the story. It gives me butterflies in my stomach that a story like this will be screened at Cannes.
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