Exploring the effects of trauma on memory with an Indian director

Indian filmmaker Nidhi Saxena Sad letters from an imaginary woman explores the topic of the complex equation between trauma and individual memory. In an intriguing story about imagination, loneliness, suffering and memory, the film tells about the collective trauma that women carry within themselves, due to the centuries-long patriarchal structures around them. In an exclusive conversation with us, Saxena explains why she chose this subject and the rare narrative style for her film. She wrote and directed the film, which was screened at the 29th Busan International Film Festival earlier this month.

Sad letters from an imaginary woman

Sad letters from an imaginary woman Set in the ruins of a house, it revolves around a woman and her elderly mother as they do their best to cope with deep-seated trauma and unfulfilled lives. The film uses non-linear narrative and unconventional imagery to advance the filmmaker’s point that trauma negatively impacts memories just as it impacts emotional health. A poignant aura encompasses the entire film, which employs several creepy shots. An example of this is repeated shots of a woman moving a huge microphone around her walls to pick up the sounds. These are the walls of the house she grew up in. You feel on edge and jumpy, afraid to discover what has traumatized the women in the frame. However, the film does not expose any of this and leaves it to the audience’s imagination. It’s about the things our walls often see and hear, things that victims are not allowed to talk about or complain about.

Elaborating on the relevance of her film’s subject, Saxena says: “Societal structures evolve, but deep-rooted patriarchy remains. It continues to shape the lives of so many women in India, as well as globally. The emotional and psychological trauma associated with navigating such spaces – where silence is enforced and personal desires are suppressed – resonates with many women even today. I expect the film will evoke experiences for both women and men, but especially for women who have experienced similar emotional confinement. It is a story that questions the mainstream portrayal of women’s roles, but can also serve as a mirror for the many layers of their silent struggle.”

Saxena admits that the idea for the film came from a deeply personal space and agrees that often fragmented memories influence perceptions and emotions. “I had been thinking about the loneliness and fear that women experience, especially within patriarchal structures, and the idea of ​​memory as something unreliable – sometimes clearer than the present, sometimes false – fascinated me. Sad letters from an imaginary woman allowed me to explore these themes visually. It all started with my desire to bridge the gap between past and present.”

She also talks about her perception of loneliness among women, saying, “Growing up, I witnessed the burden of silence that so many women carried in families. Whether it was my mother or grandmother, they were all governed by certain unspoken rules. They lived with so many expectations that ruled their lives. They could hardly express their desire and displeasure openly. The atmosphere of ‘composed silence’, in which a woman’s disobedience was seen as immoral, left a lasting impression on me.’

The filmmaker recalls how the sound of a ringing telephone used to be a sign of connection with the world outside the house. “A vivid memory is the way that even the sound of a ringing telephone would represent a connection to the outside world, a symbol of freedom in a household that otherwise felt stifling and disconnected. That sense of longing, locked within the walls of patriarchal expectations, is something I explored deeply in the film,” she adds.

When asked about the peculiar style of narration and storytelling she chose Sad letters from an imaginary womanSaxena reveals that for her cinema is a medium connected to painting and sculpture. She adds that women often internalize their trauma and emotional turmoil, so a slow and sensory story was her choice. “It allows the viewer to feel the weight of time, the melancholy of confinement and the complexity of memory. The style I chose – focusing on quiet moments, vague memories, clear sounds and symbolic images – was essential to capture this emotional and psychological reality. This approach allows viewers to experience the suffocating nature of life for a woman trapped in an oblivion called home.”

Making Sad letters from an imaginary woman

Getting an independent film off the ground is often a big challenge, and if so, an unconventional narrative Sad letters from an imaginary womanthe problems only multiply. “As an independent filmmaker working with limited resources, the financial and logistical hurdles were significant. It took a year of research and hundreds of screen tests to finalize the actors. The location also had its peculiarities. The pace had to be controlled. I would like to thank the actors and my crew for thinking and working out-of-the-box. There is always a delicate balance between artistic vision and the reality of budget constraints.”

When asked about experiences working with producers such as Nila Madhab PandaSaxena describes it as an enrichment. “They bring a deep insight into different facets of cinema and its processes and nuances, which is very valuable for a young director like me. A director needs producers who can navigate the process and the film once it is ready for the right audience. I think he always brought some much-needed, important wisdom to the team. With his presence I hope this film will travel around the world. I hope the success of this will push us all to come together and make many more films with a similar vision.”

Sad letters from an imaginary woman At Busan

Sad letters from an imaginary woman previously received Busan’s Asian Cinema Fund in the post-production category. The film premiered at the 2024 Busan International Film Festival A window on Asian cinema category.

Obtaining an Asia Cinema Fund

Saxena is happy to have secured her film’s screening at the Busan International Film Festival. “The process involved not only refining the film during post-production with the help of the Asia Cinema Fund, but also navigating the film festival circuit with a clearly articulated vision. The response so far has been encouraging, with many appreciating the experimental approach and raw emotional depth of the story.”

Saxena also says, “Receiving the Asia Cinema Fund was both an honor and a crucial lifeline for the project. It solidified the experimental direction I wanted to take the film and provided much-needed post-production access to studios in Seoul and support, something that is always a challenge for independent filmmakers working on a limited budget. The BIFF recognition gave me the confidence to push the boundaries of conventional storytelling and continue creating cinema that is both personal and profound.”

Response to Busan screening

Saxena tells us that all the screenings of her film at the Busan festival were homely and the audience connected with different facets of the film. “The audience questions covered everything from the use of fire and water, the characters’ phone conversations, the main character’s capturing of sounds through a booming microphone, and so much more, which was very encouraging as the audience can imagine identify with the components of the film, and can experience something that only cinema can make us experience.”

Being an Indian female filmmaker

Saxena believes she has a unique purpose as an Indian woman who makes films. As the space for diverse voices continues to expand, she feels responsible for telling stories that are often overlooked, stories that highlight the inner lives and emotional sides of women. “The best part is that these stories are finding their audience, and knowing that despite the challenges, there is room for more authentic representations of women’s experiences in both Indian and global cinema. Obtaining funding and support for such projects is never easy, but I believe that as audiences evolve and care for independent cinema, there will be more support and resources available for female directors, to make films about diverse and unexplored topics.

(This conversation has been edited and condensed for clarity.)