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Filmmaker Nila Madhab Panda’s Odia film ‘Kalira Atita’ based on Impact Of Climate Change

Bhubaneswar:22/3/21: Filmmaker Nila Madhab Panda’s Odia film ‘Kalira Atita’ (Yesterday’s Past )which is awarded as best Odia  film   in the regional  category in  67 th National Film Award, talks about his own trauma of witnessing the ferocious sea gobble up village after village

In  2006, on the front page of a national daily newspaper, Nila Madhab Panda saw a frightening picture of a lone hand pump sticking out of the sea. It was surprising as a hand pump is generally located in the middle of a village that is used to pump groundwater. The exploration of this story eventually led to a documentary – “Satavaya” which means a cluster of seven villages located in the east coast of India (Odisha). This was the documentary that talked about climate change. As Panda arrived in the village with his small team and was hiring a boat to go out to sea, a mentally disturbed man started chasing him saying, “Look, look-see that was my home, can you take me there?”

While working on the story, the village head along with the revenue inspector informed him how two villages had already gone under the sea in the last decade.

Panda followed the story for a decade, and eventually, by 2018, he saw all the villages being consumed by the sea. There were a few houses which had to keep shifting every two years around the mangrove forest due to the fast sea ingression. Says Panda, “It was rather shocking to me that the hand pump from which we used to drink water, is the one which you see on the poster and is now consumed by the sea. This film was rather a sense of my own emotional trauma of seeing village after village become a victim of the ferocious sea. I wondered what those people who lost their lives, families, and livelihood went through which is why I call the film ‘Kalira Atita’ which means yesterday’s past.”

The film, which premiered at IFFI panorama, believes that yesterday’s past is the future of the country. Panda says Odia poet Achyutananda once said that the seawater will soon enter Puri temple. “The story of the film is that a man goes in search of work and when he comes back to his village, it has gone under the sea. Call it whatever you like, science or astrology, both have come true.”

Panda explains that the frequency of the cyclones is increasing because we humans have damaged the environment already. The main character of his film is waiting for another cyclone to come to take him home because his family is there. He says, “It’s kind of a scary approach I have taken to make people realise that look we have already damaged our environment; the whole ecosystem of the environment has changed. The dynamism of the river and sea is changing and it is changing fast. The film is basically looking at the emotional impact of climate change.”

The film is almost dogma-like in nature, except the lead, who is a trained actor whereas most of them were the villagers who had been shifted to a new place and arrived energetically to tell a story about what they had experienced and survived. This film has been shot on real location without makeup, sets, or even lights


About Editor in chief

Ashok Palit has completed his graduation from Upendranath College Soro, Balasore and post graduation from Utkal University in Odia Language and literture.. He has also carved out a niche for himself as a scribe of eminence after joining the profession in 1988. He is also an independent media production professional. He brings loads of experience to Advanced Media, Ashok Palit as a cineaste has been active in film criticism for over three decades. As a film society activist, he soared to eminence for his profound commitment to the art film appreciation and aesthetics of cinema. His mode of discourse is often erudite but always lucid and comprehensible marked by a perfect acumen so rare in the field. A film aesthete with an immense fond of critical sensibilities, he wrote about growth and development of odia cinema in New Indian Express, The Times of India, The Hindustan Times, The Asian Age and Screen. He has been working as an Editor for Cine Samaya from 2002-2004.. He had made solid contribution on cinema in many odia Dailies and weekly such as Samaj, Prajatantra, Dharatri, Samaya, Satabadi, and weekly Samaya.

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