‘I hope our message of tolerance resonates with people’

Krishnendu Bose is a visionary Indian filmmaker with a profound commitment to storytelling. In 1985, he established Earthcare Films— a platform renowned for producing award-winning documentaries that address wildlife conservation and environmental justice. 

Notable works in his repertoire include "Harvesting Hunger" (2000), "The Amazing Race Asia" (2006), and "The Forgotten Tigers" (2014).

His latest endeavour, "Bay of Blood", is a gripping documentary that delves deep into the heart of Bangladesh's tumultuous past, exploring the horrors of 1971 Bangladesh genocide.

In a recent interview with The Daily Star, the filmmaker talks about his latest project, political perspectives, motivations and challenges, and more.

What inspired you to choose this particular subject for your project?

The first time I thought of telling the story of the birth of Bangladesh was in the Autumn of 2019. With the nation's 50th year of independence looming just two years away, it was a good opportunity to revisit the struggles and bloodshed the country had to go through to become an independent nation.

I was around ten years old during the Liberation War of Bangladesh. I witnessed the staggering effect of the War that rippled through India. So, it has always stayed with me.

I spent ten days in Dhaka in 2019 and interviewed a cross-section of people relevant to the War. By early 2020, I was determined to make the film somehow and tell the story of the birth of this nation. It wasn't just for the ignorance of the world, I also felt there was an arrogance of sorts to stories from the South Asian part of the world of the 70s.

How did you approach the research and storytelling process to capture the essence of the event?

Covid came in as a boon. It gave me uninterrupted time to research and interact with scholars, experts, activists, survivors, and eyewitnesses from all over the world via Zoom. Along with the learnings that were helping me put together the film script, what struck me most during these interactions, was how eager my Zoom mates were to tell their stories and their inferences about the Bangladesh events.

Can you share some of your challenges in terms of accessing historical footage and testimonies?

I found the experience rather surprising than challenging. 

Visual representations of the Liberation War tend to have relied more on standard footage from the Indian Films Division and Bangladesh Film Archive.

Ironically, though the tale of Bangladesh's uprising was known to very few, it was extensively covered by news broadcasters like the BBC, Reuters, Associated Press, and the Indian Films Division. They have a goldmine of archives that are easily accessible online. Regretfully, we don't have the urge to look for it.

Any personal or emotional moments during the process that left a lasting impact on you?

Throughout the time! The eyewitnesses and victims' family members shared harrowing accounts on camera -- brutal details of the events etched deep into their memories. For a daughter who witnessed the assassination of her entire family, the trauma became a recurring nightmare.

At times, it was as if I were standing at the very scenes of those horrifying events, reliving them as an active participant. A sense of anger and helplessness came over me when I encountered accounts of premeditated violence unleashed on unarmed civilians.

What role did objectivity play in shaping the 'Bay of Blood'?

When it got overwhelming, we needed to step away for a while and grasp what had been happening and how.

Objectivity is crucial as it ensures the film's credibility. During the process, I realised that this film must address a global audience and for westerners, a story's integrity streamlines with rationality and evidences. The team's diversity played a pivotal role in preserving objectivity in the production.

Daniel Feierstein played a pivotal role here in explaining the 'hows' and 'whys' of genocide. Mahfuz Anam, editor and publisher of The Daily Star, also explained the curve of the genocide in his testimonies -- from "superior raciality" to "ethnic cleansing".

How does 'Bay of Blood' highlight the relevance of genocide in current chaotic context worldwide?

Genocide and attacks on democracy were not isolated events confined to 1971. They had existed before and still persist, extending their relevance even into 2023.

Democracy resembles a child – vulnerable and unprotected, unable to survive on its own. It is our responsibility to safeguard, feed, and nurture it. Anti-democratic processes, people, and forces are always there, lurking around to undermine it. However, it is not confined to a particular nation.

'Bay of Blood' ends with a message of tolerance. How do you envision this message resonating with audiences across the globe?

A growing trend toward individualism is taking root worldwide. But the notion of democracy is – everybody's space. Although the hyper-individualistic space has not engulfed the democratic space yet, there is a concerning surge in intolerance among individuals. 

We won't survive without tolerance for religion, caste, colour, and diversity. Despite intense violence, death, and bloodshed being depicted throughout the 95-minute docufilm, in the end, I hope our message of tolerance is what truly resonates with people.

Everybody should stand for secularism and tolerance.

Did you receive assistance or resources from the Bangladeshi and Indian governments for the production of the docufilm?

The Bangladeshi government has assisted in the promotion of the film. Since it was shot in Bangladesh, we did not require much help from the Indian government. It is a self-funded project; we did not seek government grants for the project. We wanted to create it independently, to voice the truth from a neutral perspective.

Many people might find it surprising that someone with a background in economics has become a filmmaker. Was there any pivotal moment that led you to transition from economics to filmmaking?

I have always wanted to be a filmmaker, ever since I was 12 years old. However, I lacked any guidance or role models in my family or immediate surroundings to help steer me in the right direction. After graduating from the Delhi School of Economics, I joined a production house within six months, and it was my breakthrough moment in the journey.

Other topics you want to explore in the future?

When you finish shooting a film, only half of the job is done. There's still a substantial amount of work left, including showcasing, distribution, securing funding, and promotional efforts. With our latest project, there's a significant workload ahead. So, I am not thinking about any upcoming projects right now.

My immediate focus is on promoting this film, especially in Europe, Germany, and the US, and ensuring it reaches a global audience. I also want to make a Bengali version of the documentary and broadcast it across Bangladesh, including remote areas.