Makers of stalled AAP documentary: ‘This conversation needs to happen on the big screen’

In 2012, shortly after Arvind Kejriwal was part of Aam Aadmi, the first filmmakers Khushboo Ranka and Vinay Shukla went to Delhi to document travel policy.

The two-member team was initially overwhelmed by the spread of the movement and its own inexperience. A third member, Vinay Rohra, joined them and, as time went by, university students were trained Delhi to film to participate in filming.

After a year and a half of shooting, Shukla and Ranka had about 400 hours of film. Two years later, the duo, assisted by two editors, has formed a 95-minute story in Kejriwal’s rise as prime minister in what is described as a “political thriller.”

In an insignificant man, Ranka and Shukla afterwards Kejriwal from the moment in which PAA is formed until being elected prime minister in Delhi for the first time in 2014. Since the duo stopped pulling on that, the rest of the Kejriwal trips are explained by the Text on the screen.

The decision on controlling the history of the AAP in its formative months could easily become a hagiographic project, but in some key scenes towards the end, transforming foreign man Kejriwal into the hardened politician becomes evident.

The documentary was screened in many countries of the world, but out of a screening at the Mumbai Film Festival in 2016, has not been published in India.

The film was rejected in February 2017 after the Central Board of Certification of the film, directed by Pahlaj Nihalani, has required certificate of conformity Kejriwal, former Minister of Delhi Sheila Dikshit and Prime Minister Narendra Modi.

The censorship board also wanted six mentions from the Congress Party and the Bharatiya Janata Party to special taxes. Ranka and Shukla call the arbitrary decision and refused to seek NOC. The Certification Film Court of Appeal had in this case, the appeal body in CBFC.

“Political films have always had problems,” Shukla told “However, these requirements make it more difficult. The fact that we have public images, we have to ask.

You can not name or show people alive, so how can I criticize? Now if you are a young filmmaker, how do you use the image of Mr. Modi in your movie? It is not only possible to take people’s permission for a documentary. This is the goal, especially for a politician or public.

Vinay Shukla: At this point, these guys just started a political party and there was not much curiosity due to the problems they had on the table. They were whipping this current round of themselves to be the new political alternative, but their beginnings were humble and yet they had captured the imagination of the nation.

They were aware of the news, they were fighting, there was a gap. We have both been divided on whether it was a good decision or a bad way to form a political party, but it was a classic story of that person or movement that wants to change everything.

Apart from that, we were both completely apolitical before the movie, with no direct commitment to politics, so when there is a new player, it allows him to fly and to see from his eyes, which is an emotion and that attracted us .

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