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Theatre has proved to be a great blessing for filmmakers in Goa. These multiple roles have one important result: the cost of the film remains low. Moghe wrote the screenplay and dialogues, and was the cinematographer for his film. A theatre background also helped Moghe make the transition from telefilms and documentary films to feature films. The experience of multitasking comes handy in Konkani films where directors need to play multiple roles, like being the producer, screenwriter and director.
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Talak, who is also a builder, worked in theatre for 30 years, at times working as a director, in lighting, on costumes and even composing background music. “If you assume that the number of Goans in the state is around 10 lakh, you would need at least two lakh among them to come and watch your film for it to make a profit. “There’s no big money in Goan films,” he says.
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His later films have all cost more than a crore, which is pittance by Bollywood standards. Talak started out with a Rs65 lakh budget for Aleesha. “It’s a good thing I don’t do this for money.” Then there is post production work, which has to be done in Mumbai, and the costs involved in getting the films screened at different theatres. The government offers a grant that covers either 50% of the film’s budget or Rs15 lakh (for the digital format) or Rs25 lakh (for a celluloid film). Even if it’s shot in Goa with Goan actors, a film costs upwards of Rs30 lakh. Konkani films are not economically viable despite their small budgets. “All my films are on social issues that are related to the Goans - the mining scam ( Aleesha), our loss of identity ( O Maria) and the current generation’s obsession with instant fame ( Antarnad, Savali),” he says, adding that this helps audiences relate to his work. Aleesha (2004) and Antarnad (2006) picked up National Awards, and last year, O Maria completed a silver jubilee run at Goa’s two major multiplexes (a first for a Konkani movie). All of them premiered at IFFI and then released in theatres. He describes himself as “the only person to have made a number of films” in the Konkani film scene. It’s a formula that worked for Rajendra Talak, 55, one of the better known directors in the Goan film scene. “This way, when we release it in theatres, people will have heard about it,” says Moghe. Set in the dhangar (shepherd) community of Goa, it was screened at the Mumbai Film Festival and will be part of the Indian Panorama section at the upcoming IFFI. Moghe, 50, made his first feature film, Digant, this year. Moghe is among those who want to make good Konkani films and aren’t daunted by the battles against negligible profits, the lack of equipment and a small audience. Some credit for this goes to the International Film Festival of India (IFFI), which made Goa its home in 2004, and to filmmakers treating the craft more seriously. At least one Konkani film is released every year of late. No wonder director Dnyanesh Moghe tentatively calls it “a film scene”, rather than an industry. Till date, approximately 40 films have been made in Konkani. In 1963, Amchem Noxib hit screens and remains popular even today because of its soundtrack. The first Konkani film was made in 1950, Mogacho Anvddo. Clearly, there’s something cinematic afoot in Goa. Yet, three Konkani films have won National Awards in the last 10 years. You’ll find the odd mention of film songs, a blog or two and some fiery edits in Goan newspapers about the need to preserve this cinema.
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The term “Konkani cinema” probably doesn’t pop up in Google too often, but if you have trawled the web looking for examples, there’s not much online. Joanna Lobo meets the directors and actors whose award-winning work is beginning to shine a light on Goa’s film scene Konkani cinema is small, barely heard of and extremely non-profitable.