An articulate Rima Kallingal laughs but struggles to find the right words to express her opinion on a recent direction to the Central Board of Film Certification in Kerala to ensure that scenes in films depicting violence against women carry a mandatory warning that violence against women is punishable under the law. This came as a directive of the Kerala State Human Rights Commission in April. “Though we must take it in the spirit the direction was put forth, I wonder how effective such a warning can be and if it can really help in curbing increasing incidents of violence against women of all ages. Change has to come from deep within. It has to come from a different space,” says Rima. In Thiruvananthapuram to inaugurate a youth programme of the government, Rima took time out to speak to MetroPlus about cinema, gender, rabid fans on the loose on social media and the search for a fair playing ground in cinema. She points out that in cinema, the storylines have to change and for that, scripts have to change, the way love is portrayed has to change. Be the change Agreeing that many movies have condoned a great deal of violence against women, Rima feels that movies subtly play to the gallery by showing them scenes and situations that the audience seems to enjoy. “It is a vicious circle. But being artistes, let us use our art to change this [situation]. Let the change begin here. Along with entertainment, shouldn’t we be reflecting our times and show alternatives and solutions too?” she muses. According to Rima, most artistes go along with a script if it works commercially. “I don’t think they would have thought about what influence a scene might have on the audience. They know that certain scenes win mass approval and so they just continue doing that. As an artiste, I am hurt. As a woman who has grown up watching these stars, I am hurt... My day-to-day life has been affected because the way men perceive women is affected by the kind of roles the stars have been doing. They have that kind of power. But we are not targetting the stars at all. We are talking about a larger context. Why is that every time we try to talk [about gender issues], the main issue is sidelined and the discussion spirals out in the opposite direction?” she points out. Rima Kallingal | Photo Credit: S.GOPAKUMAR A founding member of the Women In Cinema Collective (WCC), a gathering of women working in Malayalam cinema, which completed a year on May 18, Rima has been an eloquent member of the WCC and also had to face a lot of flak for her candid speak. But the actor is clear that she will not be muzzled by sneaky social media campaigns or negative remarks about her. “Trolls do not affect me at all. I have a dance company to run, movies, travel, a brilliant set of friends and a great family and a husband who supports me and understands me. I am considered as a human being and I have choices. I am talking on behalf of many women who might not have those choices,” she asserts. Speaking up Rima explains that what perturbs her is that 50 percent of our population is suppressed and dumbed down and their stories silenced. “For instance, when I speak about equal pay, I am always asked why am I talking about it? Why not? Shouldn’t we all be demanding equal pay for the same kind of work? But the minute such issues are raised, there is vehement opposition and criticism,” she explains agitatedly. Heroines are told that it is all a question of “market value”. Even when satellite rights are discussed, many a time, the crassest of commercial movies gets a premium when compared to a socially-sensitive film. Television moguls have no problem about violence against women, people killing each other and retrograde ideas being telecast through films on the small screen, but kissing in films apparently would make it a bad choice for “family viewers”. When asked about the plethora of Hollywood films and Western channels that are easily available where kissing is not exactly taboo, Rima laughs and adds: “I don’t understand the logic.” Rima’s willingness to work in a film, she says, depends on whether the team has clarity about her role and the movie and is willing to take risks. The duration and the character, positive or negative, do not matter to her if her role contributes to the graph of the film. Moving on to the infusion of educated, well-qualified youngsters who have chosen to do films, Rima says that while their presence has certainly been a positive influence on Malayalam cinema, most of them remain silent or ignore rumblings of discontent in the cinema industry or don’t speak up for their colleagues even when they know what is the real picture. “It is not like what happened in Hollywood when the whole industry stood up and said ‘enough is enough’. A movement like the #MeToo protest that is sweeping Hollywood now has not been seen here. Moreover, the few persons who did speak up are being cornered. So the message that is going out is ‘don’t speak up’.” She admits with a smile that being vocal, on one hand, does get her into trouble, professionally and on social media. On the other, she recalls how many people from different walks of life commended her and empathised with her TED Talks on gender equality at home and her remarks on how women are portrayed in cinema, equality and so on. How does she relax? “I can’t. Not now. I am in the middle of a huge battle and I plan to see it through.” Short takes * Dance is an artistic outlet for me. You can’t think of anything else when you are dancing. I took a risk by sticking to contemporary dance at a time when it was not all that popular in Kerala. Taking that risk gives me joy. Mamangam (dance school) is spreading its wings. Doing something that has not been seen is what I enjoy while choreographing. * On the film front, after Rithu, my first feature film, came Neelathamara, Best of Luck, Happy Husbands… Though I was trying to do different roles, I was just going with the flow. Then came City of Joy and its director, Lijo Jose Pellissery, wanted me to play the role of a migrant woman, Marathakam. But many told him that I would not be able to pull it off. Then I was cast as the actor coping with depression in the film. That got me thinking. I had to prove a lot of people wrong to progress in my career. That was when I was cast in Nidra. That was a huge break, followed by 22 Female Kottayam. * As a performer, you have to wait for someone to understand what you can do and then write something for you. In an industry, where this does not happen often and since I can’t wait all that long, the solution is to create your own content, and write women-centric stories and narratives with their perspectives. Create jobs for yourself and other actors. I have a thread that I plan to develop as a story and I want to direct it too. Women’s stories have not been told from their perspective. With the increase in spending power of women, many are choosing which film to watch and that is going to make a difference. * Why doesn’t the government organise a festival of State and National award-winning films? Immediately after the movies are announced, maybe we should have a festival celebrating these films. RAPID FIRE A biopic you would like to act in? On J. Jayalalithaa, the late Chief Minister of Tamil Nadu. If a historical was planned around you, then which personality would you like to portray? Nangeli, the bold woman who protested against the ‘breast tax’. Who is the actor to watch out for in 2018? Soubin Shahir. He has brought in a kind of subtlety and body language that is completely new to Malayalam cinema. Of all the films released this year, which is your favourite? (You can’t choose Mayaanadhi.) Sudani from Nigeria. It has a brilliant script by Zakariya that is rooted in their locality and surroundings. I loved the way the characters were shaped. Favourite song? Uyirin Nadiye... from Mayaanadhi.

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