Santhosh Ram addresses weavers, advocates for passing down the generational loom in ‘Weave of Culture’

When the Ram Mandir Prāna Pratishtha took place in January this year, a weaver from Dharmavaram, a humble handloom village in Andhra Pradesh, sparked intrigue as he presented a charming silk sari with stories from Ramayana weaved into the cloth. Known as the silk city of the State, Dharmavaram’s reputation is held fast by its infamous weavers and their age-old tradition of weaving silk saris. Stepping into the village today, however, one may find that the saris there tell different tales, in which the threads of the handloom weaving community are unravelling under the reign of the power loom. Drawing on this struggle, filmmaker Santhosh Ram Mavuri makes a case for the continuance of the craft despite all odds in his short film, ‘Weave of Culture’.

Recently, in a report by TINE, weavers from Dharmavaram opined that with the emerging power loom industry, sticking to the traditional ways of weaving and conserving the skills for the next generation might be a curse to them. A similar sentiment echoes in weaving communities across the country, agrees Santhosh Ram. Take Kanchipuram, another handloom village in Tamil Nadu, where the filmmaker was first struck with inspiration for Weave of Culture.

“The weavers there said that they didn’t want to pass on their craft to the next generation, as their children should do a software job where they can earn Rs 30,000 or Rs 40,000 a month. I was pretty disturbed by that”, he said. “It was later in LA, when I saw a Sri Kala block print sari being sold for a much higher price than in India, that I thought about how beneficial it would be for weavers to make their craft their own brand and become entrepreneurs. This short film is a call to action for people from that community to take a chance on this idea.” 

The experience, then, became the genesis of the short film, which has so far won critically acclaimed awards including the ‘Indie Soul Special Recognition Award’ at the Boston International Film Festival, the ‘Remi Award’ at WorldFest-Houston International Film Festival, and ‘Best Film ‘at 14th Dada Saheb Film Festival.

In an exclusive interview with Yo! Vizag, Santhosh continued to discuss the making of ‘Weave of Culture’:

What is Weave of Culture about?

‘Weave of Culture’ is my thesis film that I started writing in Los Angeles, where I’m pursuing my Master’s in Film-making. The film is about Vijay, a software graduate, who is confronted by his past and his culture as he rekindles his father’s craft of handloom weaving to help his mother, a bonded labourer, repay debts to a Handloom factory. While he waits for his acceptance to start a job at Amazon, he uses his handloom weaving skills to craft a unique sari for a wealthy client. In the process, he revives his father’s legacy and chooses to revisit his heritage instead of a lucrative job.

Can you give us a background about the making of the film?

I started producing it in LA. I wrote the story, and screenplay, and did most of the pre-production in LA. We hardly had a month to shoot the entire film, for which I had to travel to Hyderabad and come back to LA. The entire film shoot happened during the COVID-19 pandemic. Weave of Culture draws inspiration from films like Mallesham, and Kanchipuram by Prakash Raj. We aimed to go to real-life weaving villages and shoot in genuine locations, rather than using a set.

What challenges did you face during the making of Weave of Culture?

Creating this film was a profound journey filled with unique challenges, especially considering it was my Thesis project at the New York Film Academy. Initially, I faced the daunting task of assembling a cast and crew and securing locations—all unfamiliar territory for me. Gratefully, through a fortuitous Instagram connection with Dani Sanchez Lopez, I gained access to a network of talented professionals. With Dani’s guidance, I enlisted an exceptional camera team.

Navigating location scouting presented its own hurdles, exacerbated by my inability to visit potential sites in person. In an innovative approach, I reached out to wedding videographers in Dharmavaram, who generously documented the weavers’ lifestyle and challenges for me. This raw footage not only informed the narrative and production design of the film but also deepened its authenticity.

Upon returning to India, unforeseen logistical challenges arose, rendering our original locations unsuitable for filming. Adapting swiftly, we transitioned our production to Pochampally, where, with the support of local residents and weavers, we discovered welcoming and picturesque filming sites. The collaborative spirit and invaluable assistance of these individuals were instrumental in bringing this film to life against all odds.

Can you share a memorable experience from the making of the film?

The entire production was an incredibly memorable experience for me. One of the highlights was having the opportunity to direct both my childhood friend, Tryambakeshwar, and esteemed acting teacher, Satyanand Garu. Working alongside someone I’ve known for so long brought a unique depth to our collaboration.

Moreover, engaging with the handloom weavers during the production was truly enriching. Interacting with them, learning about their craft, and experiencing their generosity and support towards our project was inspiring. Their involvement not only added authenticity to our film but also deepened my appreciation for their artistry and resilience.

This journey of filmmaking, marked by personal connections and meaningful interactions with the local community, is something I will cherish for a lifetime. The collective effort and genuine camaraderie made every moment on set special and contributed to the beauty and success of our project.

What is your favourite scene from the film?

One of my most cherished scenes from the film is the opening sequence, which holds a special place in my heart. It marks the beginning of our production journey, where I had the privilege of collaborating with Satyanand Garu. On that memorable day, local villagers and weavers joined us as background actors, adding an authentic touch to the setting.

What made this scene truly unforgettable for me was directing a child actor for the first time. It was a series of firsts—working with Satyanand Garu, coordinating with local community members, and guiding a young performer. These experiences shaped the essence of my filmmaking journey. 

 What did a typical day of shooting look like?

We used to travel 2 hours from the nearby hotel at RFC every day to shoot in locations, we didn’t use a single standing set on the film, every house and location was real and authentic. The residents of the house used to pack their stuff and put it in the room and we got to shoot in their house every day. We shot for 4 days and residents of the home and their neighbors were very cooperative.

Of all the villages you used as shooting locations, which did you feel reflected the film best?

Among the various shooting locations across different villages, one place that holds a special place in my heart is Vijay’s House, where we spent four memorable days filming. The hospitality and cooperation we received from the people living there, as well as their neighbours, were exceptional.

The residents of Vijay’s House not only welcomed us warmly but also went above and beyond to support our production. They generously shared their food and insights, enhancing the authenticity of our scenes by helping the actors blend seamlessly into the environment. Their willingness to showcase their way of life, including the use of handloom, added an invaluable layer of realism to our film. The time spent on that street was not only productive but also deeply enriching, thanks to the genuine kindness and collaboration of everyone involved.

What was your own takeaway from the making of Weave of Culture?

The on-set dynamics and work etiquettes in films in Los Angeles and India presented distinct contrasts. It took me a day or two to grasp their methods and adapt accordingly, just as the crew needed time to adjust to my work style.

During the writing process, I found a personal connection with my father while developing Vijay’s character. This creative journey allowed me to explore deeper emotional ties and inspired character development that resonated with my own experiences and relationships.

Engaging with the weavers and delving into their challenges provided invaluable insights into their culture and the real issues they face. This experience has motivated me to address these important themes more comprehensively in the future feature version of the film, aiming to authentically capture and bring attention to their stories and struggles.

Santhosh Ram Mavuri, the director of Weave of Culture, is a Nellore-based actor, filmmaker, and the founder of Mavuri Entertainments. Following his debut directorial film, ‘Yellow’, he is currently pursuing his Masters in Film-making at the New York Film Academy in Los Angeles, United States. You can know more about Weave of Culture by visiting their Instagram page here.

Read also- Touring the mesmerising handloom cluster of Andhra Pradesh

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