The impetus on camaraderie

Strap: The documentary Aunty Sudha Aunty Radha (2019) has a measured insight that keeps the viewers emotionally engrossed

Dipankar Sarkar

A non-fiction film constructed around the quotidian routine between a nonagenarian and an octogenarian, interspersed with conversations as a tool for exposition, had every chance of being mundane. But under the narrative finesse of prominent filmmaker Tanuja Chandra, the documentary ‘Aunty Sudha Aunty Radha’ turns out to be a study in symbiotic relationship woven around the everyday chores and activities of the two protagonists that shape the framework of this 48-minute long film.

Aunty Radha, 93, and Sudha, 86, reside in Lahra village in Uttar Pradesh. Both of them have been living in the company of each other for years. They argue as well as bond over the issues that are of little value or importance to individuals in general. But through such exchange of opinions, the two women jointly discover the stimulus to reinvigorate their lives. It appears as if they have made an accord to accept each other’s idiosyncrasies as well as companionship with equal candor.

The filmmaker had always been close to the two women since her childhood. She was well acquainted with their funny, strong, unusual personalities, which was always alluring to capture on camera. However, when the two women moved to their village home to live by themselves, away from their families, it became even more desirable to the director to make a film on them.

The entourage of household staff or helpers forms an important component in meeting the duo’s daily requirements such as looking after the garden, buying essentials, cooking as per strict instructions, etc. Chandra says: “This motley group from different communities, of varying backgrounds and ages, was such an endearing part of this idyllic existence that I had to record this. If I didn’t, this already disappearing way of life would be forever lost and we’d have no record of it.”

The cinematographic construct captures the milieu of the film quite aesthetically. Eeshit Narain, the cinematographer of the film, expresses: “I personally feel the approach to any documentary develops and evolves each day on the location as you go about living with and spending time with your subjects.” For the first two days, Eeshit and the team just spent time soaking in the place, familiarising themselves with everyone, understanding how the light was moving through the day, within and outside the house.

Even the basic approach to the design of sound for the documentary was to create a space where the two women live, which is the village. The expanse of the locality is totally immersed in the natural sound of birds, domestic animals, and cricket, which gives a sense of serenity and tranquility. “The plan was not to make it heavy with sound effects but to design it not only subtly but also in an elemental way,” says Pritam Das, the sound designer for the documentary.

“My editor, Chandan Arora, and I argued a lot,” Chandra recalls. “That’s primarily because this wasn’t a simple film to edit. The story could go in multiple directions, the scenes could be of any length, in any order, really. However, I do think that the structure he gave is really the best this film could have.” As a result of the amalgamation of such creative choices, what finally took shape is a genuine depiction of life, which heightens and intensifies the essential aspects of human existence, delineated through the harmonious alliance of two individuals – Aunty Sudha and Aunty Radha.