Top News

With Nadharer Bhela (The Slow Man and His Raft), director Pradipta Bhattacharyya leans into themes of slowness, alienation and human compassion – both on screen and in the way the film reaches its audience. Starring Amit Saha as a slow-moving man in a rural circus, alongside Ritwick Chakraborty and Priyanka Sarkar, the film stands apart not just for its narrative, but for its unconventional journey beyond it. Bhattacharyya has deliberately bypassed multiplex circuits and formulaic releases, instead choosing to screen his work in intimate, alternative spaces. His films travel like lived experiences – shared in rooms that encourage pause, reflection and conversation – the very ethos of slowness that defines his storytelling.

Where the idea came from
“This idea of screening the film across community halls, art galleries and theatre spaces, beyond conventional cinema halls, began as a practical response to the high costs of distribution, uploads and marketing – something we simply don’t have the financial backing for. That, in many ways, reflects the reality of independent film releases today,” said Pradipta. However, for him the deeper challenge was reaching audiences. “After taking the film to these alternative spaces, I’ve realised that meaningful cinema, where audiences truly connect with the story, will always find value,” he added.

‘I don’t believe cinema belongs only to theatres and multiplexes’
Pradipta says that even in Delhi, the film was screened at an art gallery cementing the idea that cinema today is not confined to traditional theatres. “After every screening, I make it a point to sit with the audience and explain why I’ve chosen an alternative distribution model , and why taking films directly to people matters. I don’t believe cinema belongs only to theatres—the experience can be just as meaningful, sometimes even more so, across platforms, at home, or on personal devices,” said Pradipta. “At the heart of it is a simple belief: if the story is strong and the film resonates, audiences will come. Content still leads the way.”


How independent screenings work
The release model of this film stands out and is being discussed widely. Instead of a conventional theatrical rollout, screenings were organized independently, with a screening fee structure. Kolkata and Barrakpore saw nominally priced tickets and the show ran full house with an audience of nearly 825 people. Interestingly, this approach is not entirely new. There’s a historical echo as filmmakers in the 70s and 80s had experimented with similar grassroots distribution methods. The director added, “Our film didn’t have a theatrical release and is being screened differently, something rarely attempted in Bengali cinema at this scale.”

This response signals that there is indeed an appetite for such films when presented effectively. Technically too, flexibility is key. Screenings can be arranged using projectors, adapting to available infrastructure –Pradipta


The ‘call show’ model is innovative and worth exploring: Ranjan Ghosh
Director Ranjan Ghosh has adopted a similar alternative distribution route with Adamya, blending conventional aspirations with on-ground outreach. “My strategy was first exploring a theatrical release through the existing distribution system – I consider it my right,” he said. “The next step for Adamya was to take the film into the interiors.” The film’s rollout reflects this pivot. “We launched our teaser in the Sundarbans, and our first screening was at Sundarban Mahavidyalaya in Kakdwip,” Ghosh added. Acknowledging the groundwork laid by Pradipta, he noted, “Pradipta has been doing this for years.” While cautious about scalability, Ghosh remains optimistic: “Whether this will work for every independent filmmaker is something only time will tell. For now, the ‘call show’ model seems innovative, viable, and definitely worth exploring.”