For acclaimed filmmaker Sivaranjini J., the captivating image of a sacrificial rooster in a women’s beauty parlor ignited an extraordinary creative journey. This inspiration led to her debut feature film, “Victoria,” which successfully transitioned from a quaint village in Kerala to international acclaim, including being the sole Indian entry in the prestigious Shanghai International Film Festival’s Asian New Talent competition. This remarkable achievement highlights not only her storytelling prowess but also the rich cultural narratives emerging from India’s vibrant film landscape.
The gripping drama, which made its premiere at the International Film Festival of Kerala (IFFK), unfolds around Victoria, a young beautician who finds herself torn between familial obligations and her own desires. As she plans to elope with her Hindu boyfriend, she faces fierce opposition from her conservative Catholic parents. Set almost entirely within the confines of a beauty parlor, the plot thickens when Victoria takes on the responsibility of caring for her neighbor’s sacrificial rooster, intended for a church offering, adding layers of complexity to her already challenging situation.
Expressing her gratitude, Sivaranjini shared her feelings about the recognition with Variety, stating, “I’m feeling really honored by this recognition.” She elaborated, “On a personal level, it feels like a significant milestone, especially considering how unattainable creating a feature film once seemed to me. This acknowledgment is a testament to the collective effort of my team and the risks we embraced in bringing this film to life.” Her words reflect the deep connection between her artistic vision and the collaborative spirit of filmmaking.
The spark of inspiration for Sivaranjini came five years ago during a visit to a local beauty parlor in her hometown on the outskirts of Kochi, Kerala. “I encountered a rooster with its legs tied, near their bathroom. I enquired and learned it was a sacrificial rooster soon to be taken to the nearby St. George church as an offering,” she recalls. “The sight of a rooster within an all-women beauty parlor left a lasting impression on me and compelled me to write the script.” This unique juxtaposition of cultural elements became the foundation for her narrative, showcasing the complexity of life in contemporary Kerala.
Sivaranjini developed the ambitious project under the Kerala State Film Development Corporation’s (KSFDC) Women’s Empowerment scheme, which played a pivotal role in realizing her vision. As a graduate of the National Institute of Design in Ahmedabad, specializing in Film and Video Communication, she briefly worked as a freelance editor before embarking on a PhD in Visual Communication Design at IIT Bombay. This academic background equipped her with the technical skills necessary to bring her artistic vision to the screen.
“By that time, I had nearly abandoned my dream of becoming a filmmaker, fully aware of the immense challenges independent filmmakers often face,” she admits. “Receiving the state government grant was a transformative moment for me.” This statement underscores the vital role of institutional support in nurturing creative talent and fostering new voices in the film industry, particularly for women pursuing their dreams in a traditionally male-dominated field.
When Sivaranjini applied for the KSFDC production grant, four films had already been produced under this initiative. “The grant provided me the freedom to pursue my dream without the typical commercial pressures from producers. We also had access to the facilities of Chitranjali Studio, which is owned by the state government,” she explains. The support not only alleviated financial burdens but also enabled her to focus on her creative instincts, ultimately leading to a uniquely authentic cinematic experience.
The filmmaker, who previously directed short films such as “Ritham” (2016) and “Kalyani” (2014), cites the legendary Malayalam-language cinema director G. Aravindan as a significant influence on her work, shaped by her upbringing in Kerala’s vibrant film society movement. However, she emphasizes that creating “Victoria” was not solely about drawing from these influences; it was a profound journey to discover her own voice as a filmmaker. This commitment to personal authenticity is what sets her apart in the evolving landscape of Indian cinema.
The project also benefitted from the artistic guidance of the late Shaji N. Karun, a towering figure in Malayalam cinema who served as KSFDC chair during production. “It was an honor to create ‘Victoria’ with KSFDC as the producer while Shaji N. Karun was the chair,” Sivaranjini recalls. “At the world premiere of ‘Victoria’ at the IFFK, his words of praise and encouragement were incredibly humbling. He urged me to submit the film to international festivals, and his recent passing is an immeasurable loss to all of us.” This acknowledgment speaks volumes about the collaborative spirit that pervades the Malayalam film community.
The talented cast includes Meenakshi Jayan, Sreeshma Chandran, Jolly Chirayath, Steeja Mary, Darsana Vikas, Jeena Rajeev, and Remadevi. The technical team features Anand Ravi as the director of photography, Abdul Khader A.K. overseeing art and production design, with Sivaranjini serving as the editor, and Abhaydev Praful composing the film’s music. This collaborative effort highlights the importance of teamwork in the filmmaking process and showcases a blend of talent that contributes to the film’s overall impact.
Following the international recognition of “Victoria,” Sivaranjini is already contemplating her next project. “I definitely want to continue exploring stories centered on female characters, and I’m also drawn to the idea of experimenting more with form and narrative structures,” she reveals. “I would love to create something that challenges both myself as a filmmaker and the audience’s expectations.” This ambition to push boundaries reflects a broader trend in cinema where diverse narratives and innovative storytelling techniques are increasingly celebrated.
