A great story doesn’t need a big budget to come to life — Film director Theja Rio

Recently, his short film Ade (On A Sunday), won the coveted Royal Stag Large Barrel Short Film Award at the Mumbai Academy of Moving Image (MAMI) 2024.

This short film also had its world premiere at the International Film Festival Rotterdam (IFFR) and continues to be screened at esteemed festivals such as Indielisboa and IFFLA.

Also read:Theja Rio’s ‘Ade (On A Sunday)’ wins Royal Stag Large Barrel Short Film Award at MAMI 2024

Making films both in India and internationally, Theja Rio’s works serves as a testament to his skill in weaving personal narratives with universal themes, spotlighting the rich, untold stories of Naga heritage, transcending borders and cultures.

Eastern Mirror shares an exclusive interview with the upcoming director who wishes to continue making films, expand his horizons and explore the film industry in-depth. 

Eastern Mirror: Please tell us what inspired you to enter into the world of films?

Theja Rio:I’ve always had a storyteller within me, ever since I was a kid. I started out writing very early, crafting rap and other songs initially. Over time, this passion evolved into writing short stories, and then eventually, I found myself writing scripts. Once I started writing scripts, I felt possessive of what I was writing and I didn’t want someone else to translate my vision. That’s when I decided to become a director.

Eastern Mirror: Your proudest accomplishment so far as a filmmaker?

One of my proudest accomplishments as a filmmaker has been seeing my films reach international film festivals. It’s incredibly fulfilling to know that stories rooted in Nagaland resonate with audiences worldwide. My short film Angh went to prestigious festivals like Clermont-Ferrand and Palm Springs, while Ade (On A Sunday) made it to the International Film Festival of Rotterdam and IndieLisboa. Now, my latest short, Remains, is heading to BAFTA and BIFA qualifying festivals like the Cambridge International Film Festival and the prestigious Cameraimage next month. Watching these films travel and connect has been a truly proud moment for me.

Eastern Mirror: Most challenging movie ever made from your production list?

Remains, the short film I wrote and directed in the UK, has been my most challenging project to date. I crafted an ambitious script that tested not only my skills as a filmmaker but also stretched our budget to its limits. The writing process was intense, with numerous rewrites that demanded a lot of patience and dedication. The production was equally demanding — we shot on 35mm film in a sprawling mansion in southern England, which added both complexity and a unique texture to the visual storytelling. Looking back now, I’m incredibly proud of what we achieved.

Eastern Mirror: What is that one consistent message that you try to convey through your films?

I’m not sure there’s a single message I aim to convey through my films. I’m not comfortable with the idea of preaching or pushing an agenda; instead, I try to approach conflicts with a sense of neutrality, allowing audiences to bring their own perspectives and interpretations. That said, intergenerational conflict does seem to naturally find its way into many of my stories.

Eastern Mirror: Your type of movie genre? And where do you wish to see yourself 10 years from now?

I don’t feel tied to a specific genre; for me, it’s about discovering compelling stories and characters first, and then finding the genre that best serves them.

In the next 10 years, I simply hope to keep making films — whatever their scale or budget– continuing to grow and explore as a filmmaker.

Eastern Mirror: How do you handle creative disagreements with your crew members?

Over the past decade of making short films, I’ve definitely grown as a filmmaker, and I like to think my skills as a collaborator have improved as well. I believe that, regardless of any disagreements, maintaining mutual respect and prioritising the film above individual interests is essential. Everyone is working toward creating the best film possible, and personal misunderstandings shouldn’t stand in the way of that shared goal.

Eastern Mirror: How do you ensure the safety of your cast and crew on set, especially when it involves kids actors, like your award winning short film Ade (On a Sunday)’?

Ade (On a Sunday) may not involve the intense physical or mental risks that some films do, but working with kids brings its own unique challenges. Building a sense of family within the cast and crew was essential, especially to create a safe, supportive environment for the young actors. This atmosphere helped everyone feel at ease and made a real difference in bringing the story to life.

Eastern Mirror: What was the most important life-changing ‘lesson’ that has had a positive effect on your filmmaking?

The most life-changing lesson I’ve learned is that there are multiple perspectives to everything. While this idea seems simple, it becomes complex when emotions are involved, making it hard to step back from your own viewpoint to see the bigger picture. Embracing this understanding has profoundly influenced my films. Being able to view situations from multiple perspectives is crucial — it allows for the creation of multidimensional, layered characters that feel authentic and complex.

Eastern Mirror: Say, you have an unlimited budget at your disposal, what would be your dream production project?

That’s a tough question. I’ve always developed my films to match where I am in my career, and right now, I’m not in a position to direct anything high-budget, so I haven’t given much thought to large-scale projects. That said, I think a big-budget film about the Battle of Kohima, told from a Naga character’s perspective, would be fascinating. Growing up in Kohima, this story is close to my heart, and bringing that history to life on such a scale would be meaningful.

Eastern Mirror: Do you think it is essential to go to a film institute to become a successful filmmaker?

I don’t believe attending a formal institution is essential to becoming a filmmaker. It really depends on the individual and what they need to grow. Some master filmmakers have never attended film school, while others have — there’s no single path to success in this field.

Eastern Mirror: A filmmaker you wish to work with and learn from?

There are so many filmmakers I’d love to work with, but if I had to choose, Abbas Kiarostami, the Iranian director, would be at the top of my list, though sadly he has passed. Currently, Paul Thomas Anderson is someone I’d be very interested in learning from. While our films are quite different, I feel there are overlapping themes and styles that resonate with me.

Eastern Mirror: An actor you would wish to make a movie with and one thing about the actor that you think will never fail filmmakers?

It’s hard to choose, but I’d love to work with Willem Dafoe. I genuinely think he’s one of the finest actors working today. His performances are both visceral and deliberate, which is truly remarkable. That combination of intensity and precision is something that never fails to captivate filmmakers and audiences alike.

Eastern Mirror: What advice would you like to give to aspiring filmmakers for a state like ours where film making is slowly becoming a targeted profession for many here?

My advice would be to keep making films. Start by putting pen to paper, then get out there and create. Over time, you’ll begin to discover your unique voice, which is essential as an artist. Be bold, take risks, and don’t be afraid of criticism — just make as many films as you can. With phones and apps for shooting and editing, budget is no longer a barrier. A great story doesn’t need a big budget to come to life.