‘One should see one’s own home from a distance.
One should cross the seven oceans
to see one’s home,
in the helplessness of the unbridgeable distance,
fully hoping to return some day.’
- A translated excerpt from Vinod Kumar Shukla’s poem, Door Se Apna Ghar Dekhna Chahiye.
Filmmaker Achal Mishra grew up in several boarding schools, having left home at the age of nine. As a result, he never truly understood the meaning of home; he could only view it from afar. Much like the sentiment expressed in Vinod Shukla’s poem, achieving a new perspective on one’s life and surroundings often requires stepping back and observing from a distance. This distance allows for a greater appreciation of its true value and an understanding of its significance in the larger world. It often implies a deeper understanding and appreciation for what one might take for granted when too close to it.
This may be a thread that connected them to a point where Achal dropped everything when he got a chance to spend time with the celebrated poet Vinod Kumar Shukla. A casual conversation with actor Manav Kaul about visiting the poet led Achal to create his third film, Chaar Phool Hain Aur Duniya Hai, now available on MUBI. In this documentary, he expresses his affinity for and admiration for Vinod Shukla’s work through his art.
What was it about Vinod Shukla’s work that made you want to capture his life and what does it make you feel?
In terms of the film, it wasn’t a deliberate decision for me to make; rather, it was an accidental opportunity that arose between the three of us. Manav Kaul, my friend Nihal, and I were sitting together having coffee when Manav suggested visiting Vinod Kumar Shukla. We were all fans of his work, and as I was reading him at that time, I was eager to tag along. So, on a Sunday, I ended up visiting him with both of them, and we spent the day filming. That’s how the project began. If I had wanted to make a film, there are so many aspects of his work that I admire and have encountered over the years.
One thing that particularly excites me is how deeply connected his writing form is to its subject matter. You can’t separate the structure of his sentences from their meaning; the construction of his sentences is just as significant as the content itself. He writes about everyday moments and explores the magic within them, presenting a reality that feels one level removed. This unique perspective comes not from what is happening, but from how one perceives these experiences. You can see this consistently throughout all his work, from his poems to his novels and even in the dialogue within the film. It is a thread that ties everything together.
Can you talk about Vinay Shukla’s relationship with his son, Shashwat and how it pleasantly surprised you?
When I was visiting him for the first time, I had only heard about his son. One imagines what the son of a major writer would be like, and a few ideas come to mind. However,when we met Shashwat ji, we were pleasantly surprised by how dedicated he was and the love that was evident between them. What excited me about wanting to interview him was this seven-page write-up I had read, which he had written about his father. It was called, Ikant Ka Bahar Jaana. Those seven pages were the most beautiful homage from a son to a father that I had read at that time. He talked about how Vinod ji had raised him and how he had handed him the books he received at an early age, among other things.
When I met him on my first visit, there were all these little things he said that excited me. One notable moment was when we asked if he read Vinod ji’s work, and he said, ‘I’m not a reader; I’m just a listener. Whenever he’s composing, I’m always listening to it.’ This thought stayed with me. So, on my second visit, when I went to shoot again, I wanted to sit with him and just talk.
You are captivated by homes and their relationship with the inhabitants. This documentary, much like your previous film, Gamak Ghar, remains focused on the house. A home is a universe unto itself.
My experiences over the past few years, constantly moving from place to place, have made me particularly drawn to certain themes. For instance, creating a film like Gamak Ghar was possible for me because I’ve lived in various locations throughout my life. I left my hometown at nine and spent years in different boarding schools. After that, I moved to Delhi and then Mumbai, so the last 10-15 years have involved a lot of transitions for me. The concept of a home, like the one depicted in Gamak Ghar, resonates with me deeply. When there’s a sense of absence, we often pursue what is lacking. This is reflected in my interest in the house portrayed in Vinod Kumar Shukla’s work. It is a universe unto itself, and visiting it revealed the unique dynamics of the people who inhabit that space.
On my first visit, I was thrilled to capture the house and its surroundings. By my second visit, I focused on filming the interiors; in post-production, I decided to concentrate solely on the house itself. While we did capturesome exterior shots, I felt that Vinod Ji’s writing emphasises the significance of the house as a universe. One of his lines, “Ghar lotna jaise prithvi ki aur lotna,” inspired me to stay within that space during the editing process.
Speaking about the edit, it took almost two years. Why did you feel the need to keep going back to it?
I shot the film and made several attempts at editing it, but each time, I ended up leaving it unfinished. I had ideas I wanted to explore, but they just didn’t come together well. After two years of this back-and-forth, I finally sat downagain, having become very familiar with the footage. This time, I decided not to force it into something it wasn’t. I embraced the concept of it being an afternoon spent at his home and shaped the film around that idea. The actual editing process took just two or three days, but those two years were filled with trial and error. In the end, I focused on defining the film’s rhythm and structure, aligning it with the original vision I had.
How did it feel to be a fly on the wall, not having much control over your subject? Did this experience shift anything within you as a filmmaker?
I mean, the experience was quite different on the two days of the shoot. On the first day, I was overwhelmed by the opportunity to visit Vinod Kumar, a writer I admire greatly. Because of my excitement, I over-prepared and brought along two cameras, constantly trying to capture something. However, my admiration for him made it difficult for me to maintain an objectivity that would allow me to film without distraction. It took me half the day to finally set up a camera on a tripod and shoot calmly.
The second day, however, went much more smoothly. By then, I had a clearer idea of what I wanted to achieve and the types of images I could aim for. This time, there was more ease between Vinod Ji and me. I felt comfortable asking him to do things like sit on the swing, take a nap, or go for a walk outside. With a few specific images in mind, the shooting process became more collaborative and enjoyable. That’s how the experience unfolded.
We have partnered with MUBI to bring you one month of great cinema for free. You can watch Chaar Phool Hain Aur Duniya Hai and much more, via this link.
Words Hansika Lohani
Date 23.03.2025
