Director’s Note:

Haren Das comes from a tradition of syncretic, lyrical Indian modernism of the Bengal school, and his woodcuts as a medium already embody that spirit of its Japanese origins of a rarefied stillness, of quiet observation. The images strangely evoke those fleeting moments of silence in the everyday life of a self-sufficient, content rural people, as if to immortalise these interstices of precious moments of peace, which are now buried under the burden of a more turbulent, restless history. 

It made me look at movement and sound in a completely different way. Is it possible to preserve or enhance the silence by punctuating with sounds? Was it possible to highlight the pulsating life underneath the wood-stained lines and flattened colour-blocks without disturbing the stillness of those resting inside these prints?