Exploring Identity and Empowerment in Tribeny Rai's Shape of Momo
A Journey of Authenticity and Challenge
Filmmaker Tribeny Rai boldly states, “I am prepared to be seen as difficult, as long as I can remain true to myself.” Her debut feature, Shape of Momo, which has gained international acclaim, reflects this philosophy. Hailing from Sikkim, a region often perceived as less patriarchal than Northern India, she argues that misogyny is deeply embedded in society, albeit to varying extents. The positive reception of her film, which has garnered numerous international accolades such as the Taipei Film Commission Award and the Songwon Vision Award at the Busan Film Festival, underscores the idea that regional narratives can resonate universally. She explains, “Honesty in storytelling fosters connection.”
In comparison to mainland India, the North-East is indeed more progressive. When asked about her inspiration, she replies with a smile, “My entire life. Growing up in a family with four daughters, often regarded as second-class citizens, and hearing that my parents wished for a son, shaped my perspective.”
Interestingly, she embarked on this film seeking answers to her own questions, yet it has left her with even more inquiries. Regarding whether female filmmakers can create a better world for women, she notes, “Women cannot empower women alone; we need empathetic men like my producer and co-writer Kislay. Nonetheless, it’s an exciting time for women to share their narratives.”
While the lack of representation for the North-East in mainstream cinema troubled her, she was equally concerned about how North-Easterners are often portrayed as simplistic or exotic characters, relegated to supporting roles even in films centered on their stories. She quips, “You can’t fault others for not telling your story; we must become the heroes of our own narratives.”
With a surge of North-Eastern films like Lakshmipriya Devi’s Boong and Rima Das’ Village Rockstars 2 gaining international attention, she highlights that filmmakers such as the esteemed Assamese director Jahnu Barua have been creating impactful cinema for years. Currently, there is a notable increase in the frequency and consistency of such films. Looking ahead, she aims to continue focusing on her region and advocate for women who are not always virtuous but can be flawed, stating, “That’s the essence of being human.” While being a non-conformist comes with its challenges, she asserts, “The freedom it brings is unparalleled.”
Reflecting on a line from her film, ‘If you are a flower, you perceive the world as a flower; if you are a thorn, you see it as a thorn,’ she ponders what women represent. She concludes, “Women can embody whoever they choose to be.” To all women, including her friend Payal Kapadia, who is also an executive producer alongside Zoya Akhtar and Reema Kagti, she extends a heartfelt shout-out. She emphasizes, “Shape of Momo is not just my journey; it represents the stories of countless courageous individuals who dare to be difficult, unique, and complex.”
Interestingly, unlike Bishnu from Shape of Momo, Tribeny excels at making perfect momos and crafting an exceptional film.