- 1 day ago
In an exclusive conversation with India Today, Parasakthi director Sudha Kongara spoke about facing harassment amidst the film's release. She also opened about Hindi imposition, Vijay's Jana Nayagan row and other details.
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00:00Joining us for a conversation is the director of Parasakti film, Sudhak Kongra.
00:06Ma'am, thank you so much for your time.
00:08Not at all, thank you.
00:09It's been 16 years of you in the cinema industry, in the film industry.
00:13Congratulations on that.
00:16What's been your biggest learning in this 16 years?
00:2116 years you're counting since my first film?
00:24Drogi.
00:25Ah, like that.
00:27So, pre that another 10 years.
00:29Yeah, because you worked on that script.
00:31No, I worked as an assistant director and I worked on Mitra My Friend.
00:37So, it's like 26 years now.
00:39I feel ancient.
00:41So, there is no pause for learning really.
00:48And you really can't take a break.
00:53And you're constantly at it.
00:56These are my learnings.
00:58And you learn something from each film.
01:01There has to be a takeaway.
01:02Otherwise, there's no point to it.
01:04And from each film, I have had those takeaways.
01:06Like from my first film, what I realized was I needed an extremely strong producer.
01:12I needed various things.
01:15And commercial success is very, very important.
01:18That's right.
01:19From my second film, I realized that, you know, you have to spend for publicity perhaps.
01:24And you have to do so many things of marketing and everything which we missed out on.
01:29But then it did well.
01:30The film did well by itself.
01:32And then on the third film, you learn something else.
01:35On the fourth film, you learn.
01:36Every film is a learning.
01:37It matters in the sense that, are we learning something from it?
01:42And am I taking away something from it?
01:44That's all.
01:45The rest should not matter.
01:47I mean, yeah, of course, you sit and then you worry.
01:49You think, okay, my God, this didn't do well.
01:52Or, you know, the critics are panning you and all of that.
01:54You do worry.
01:55But that's not your takeaway.
01:57Your takeaway is everything else that you learn saying you shouldn't have done this.
02:04Or you should have done this.
02:06So, there are lessons.
02:07Yeah, that you never stop learning.
02:09Love you.
02:10Never.
02:11Ma'am, if you could come up with a two-film resume to show yourself as a director,
02:17to show who you are as a director, which one would you pick?
02:20A two-film itinerary, a two-film resume.
02:22I would take my short, Tangam, from Pawaka Degar.
02:26Okay.
02:27It's on Netflix, from the anthology.
02:29Then I would take Parasakti.
02:31Oh, I was thinking you would say,
02:33Iridi Sutra or Surarei Potra as your two-film resume.
02:37Why, why, why Tangam?
02:39Tangam because they impacted me on a personal level.
02:44Okay.
02:45I think, in what way?
02:46Tangam because when I was working with transgenders, trans women,
02:51and working with a section of society that I had not been familiar with before that.
02:58So, I just go into the world, and it just, I learned so much.
03:05Right.
03:06So, that matters to me.
03:07I have, see, we live very, we live other people's lives, you know, through our films.
03:14Yeah.
03:15So, yeah.
03:16So, me living their life during that time gave me an empathy and made me a better human being.
03:22That's, I feel that very strongly.
03:23Oh, lovely.
03:24Yeah.
03:25Very strongly.
03:26So, to me, it's very, very close to my heart.
03:27Very, very close to my heart.
03:29And I believe everybody involved in the film, like the actors involved in the film.
03:34They were all, you know, not huge actors, but they were great actors.
03:40They were not stars, stars.
03:42And the commitment from each of them, and the fun we had while working at it.
03:48There was just no, also I was the producer on it myself.
03:52So, the decisions I could take, and everything was, I think it was a joyous experience.
04:00I loved it.
04:01Then, why not Iridi Sutra, you say?
04:05Yeah.
04:06In Iridi Sutra, whatever I said in that, it's a male saviour.
04:10Yeah.
04:11So, I mean, in looking back now, ten years later, or even then, even when I did it, I knew
04:21I had to do it.
04:22I knew to mount the film.
04:24I had to have a male protagonist, a strong male protagonist.
04:30And though it was essentially the girl's story, I had to do various things to make
04:36it mountable.
04:40Even with that kind of a story, and even with Maddie, we struggled so much, seven years
04:46or so, to try to make that film.
04:48Because whatever I said in that, it was about female boxing.
04:51And there were no takers, really.
04:53And yeah, Maddie fought that battle with me.
04:57And he had the guts and the gumption to do a role to support the girl's role.
05:03You know?
05:04So, my biggest thank you to Maddie for that.
05:07Are there more number of takers now for female directors?
05:10Because when I think, I know you, being a female director, I know Kritika, then there's
05:15a new entrant, Varsha Bharat, who has come into a picture with the most amazing film,
05:20Bad Girl.
05:21It's just a handful that I can think of.
05:23So, has the landscape improved, ma'am?
05:25Are there more takers now for female directors?
05:29I don't see the struggle anymore.
05:33Okay.
05:34I don't see the struggle anymore for me.
05:35For you.
05:36For me.
05:37Okay.
05:38But there are girls who come and who tell me, it is a debut thing.
05:43When they want to debut, there are no takers.
05:47Right.
05:48And I hear the same from the male assistant directors as well.
05:52So, getting that first film is really, really tough, whichever sex.
05:57And now, depending on the film that you're going to do, like, if it's a mainstream kind
06:05of a film, and if they, again, it's such a catch-22 situation, they want you to have
06:12experience, and come to them with experience, but then they don't want to give you a film.
06:17How do you get experience?
06:18So, I think I've been very, very fortunate and privileged in that sense that I did have
06:25to fight for it, but my first producer was a female, was a woman.
06:30And my second film, somehow Maddy was really standing by it.
06:40So, you need somebody.
06:41So, when I'm talking male savior, in Iridisutra, that's exactly how I got my film, Iridisutra.
06:50Yeah.
06:51There had to be a big star, a male star, who would, you know, stand by me, and who gave
06:58me that push.
06:59He didn't give me the push.
07:00He didn't give me the push, he didn't give me the push just so I'm a woman and he's helping
07:06me or anything.
07:07No.
07:08He loved my subject.
07:09He believed I had the capacity.
07:11He watched Droghi.
07:12He felt I knew enough about the grammar of filmmaking to be able to do this and to pull this off.
07:20Only then.
07:21Yeah.
07:22So, you see, but still, if he had not supported me, I don't know.
07:26I really don't know.
07:27So, to me, till today, I still feel very strongly, despite the fact that Maddy always said, you
07:33know, your story was great and I wanted to do the film and you owe me nothing.
07:38I feel I owe him big time.
07:41Because when I was down and out, after a flop, to give you a film, to trust you is a big deal.
07:47Right.
07:48How nice.
07:49Ma'am, it's day seven of Parasakti's release.
07:54Has the release soaked in inside you?
07:57How has the response been?
07:59What are you hearing?
08:00Okay.
08:01So, from day one, I think we had a great opening because it was a weekend.
08:07Yeah.
08:08It was a Saturday.
08:09And Saturday, Sunday was good.
08:10The response that I get from people, from the audiences, it's been terrific.
08:16Terrific.
08:17I mean, I haven't, I'm sure there are lots of people with negative things to say about
08:22the film.
08:23People not liking the film.
08:24But the people reaching out to me, obviously, are the people who are loving the film.
08:27People who are reaching out to the technicians, people who are reaching out to the actors in
08:30the film, they are loving the film.
08:32And the people who are giving reviews on television or on YouTube or anything, I see that they are
08:39loving the film.
08:40Do you watch what critics say, ma'am?
08:41All the comments which come on.
08:42Not really.
08:43Not really.
08:44Because recently I saw how you got targeted personally because your film had almost the
08:49same release date with Vijay's film, Jananayagan.
08:52And a lot of his fans, I saw how much of trolling that you had to undergo.
08:56They asked you to apologize to Vijay.
08:58Also, push the release date of Parasakti as well.
09:01Wait until Jananayagan comes.
09:03How do you deal when you are subjected to that kind of intense online harassment?
09:07The most beautiful thing about my life is I am not on social media.
09:13So if I have to post something on Insta, one of my assistants, Ajun does it for me.
09:17My associate, he does it for me.
09:19And actually, I never wanted to be.
09:21For the longest of times, till I think about 23, 2023, I was not on Insta or Twitter.
09:28But what happened was, my writer friend called me from Kerala and she told me that there were
09:34girls who were being targeted and from various fake IDs, accounts, supposed accounts of mine.
09:41And they were being called for casting calls and lots of abuse was happening.
09:46So then we were, as a job, I was pulling down those fake IDs again and again reporting them,
09:53thousands of, not thousands, hundreds of them definitely.
09:56And then it just became so bad once.
09:58There was one really bad incident and this person reached out to me from Kerala.
10:03I said, okay, I'm going on that, on X and then it was Twitter.
10:08Twitter and the other one, Insta, just with a blue tick, just to tell people that this is the real ID.
10:16And then it comes in use when we have films releasing.
10:21So a little bit of updates or something like that or whatever the producer wants me to do
10:25or our marketing department wants me to do.
10:28Now, as for these attacks, yeah, so there was a journalist just like you who had asked me on the second,
10:37I think on the third, fourth, fifth day or something, you know, he had asked me if I was being attacked politically.
10:45I said, no, I was not being attacked politically.
10:48The problems were not from the political segments or anywhere.
10:54But it was from a person like this and I showed him that particular X comment.
11:03It's from this handle, Blasting Tamil cinema, which says, Dear Dawn Pictures,
11:08CBFC keep the certificate wrong or the personal and the fans get a sorry,
11:12Apology certificate wrong.
11:14You know, over week, you're good on the money.
11:16I've kept it for posterity.
11:23I've kept it.
11:24I felt really abused.
11:27I'm like, I don't know who he is.
11:29I don't know them from Adam.
11:31But in retrospect, I don't even think it's his fans.
11:35I don't think it's even from that.
11:36I think it's from some other segments of, I don't know who these people are,
11:42but they don't seem like fans.
11:44Okay.
11:45So this is not coming from there.
11:46That's what I've realized.
11:47So I apologize to his fans.
11:49I shouldn't have blankly, though he says apologize to the fans.
11:53They just use their names, which is tragic.
11:55They're using Mr. Vijay's name.
11:57They're using his, you know.
11:59And now, having said this, so I showed this gentleman this particular thing.
12:05And then I responded to it saying that this is the kind of bullying I'm facing online.
12:11Now, what gets picked up by the media?
12:14What is the click bait?
12:15Just that Sudha calling everybody gundas, right?
12:19Don't you put what I have said and my response to it in context?
12:22It doesn't seem like I'm tearing down anybody, right?
12:25But that was never done.
12:27And maybe it makes better TRP or maybe it gives you better readership by doing something like that.
12:34But frankly, I was never even given a chance to explain this.
12:40And just slamming, slamming, slamming.
12:42And then it becomes such a wonderfully easy place to slam you from, no?
12:46Because you're hidden.
12:47You're not there.
12:48It's nameless.
12:49We don't know who they are.
12:50Absolutely.
12:51And that's so spineless.
12:54The fact that they're just targeting you again and again and again.
12:57And this particular one just got me irritated.
13:02So I wouldn't have even responded to this if not for the fact that on that particular morning when I am seeing this particular thing,
13:09that particular journalist calls me and I am telling him out of whatever I'm feeling.
13:16Perhaps he should have not even carried my feelings.
13:19And how do you overcome when you come across such terrible threats, ma'am?
13:24It really does get to you because no matter how, you know, the kind of achievements that we all do,
13:30at the end of the day, we're all human beings with emotions.
13:33And when you see messages like that, how do you come out of it?
13:37So this particular message that I read out to you is perhaps the nicest.
13:42So then you have really vulgar ones targeting me and terribly horrible ones wherein, you know,
13:53a very sweet boy, one of the actors, he had just called me and he said,
13:59please, you know, terrible things are happening.
14:02Terrible things are being said.
14:03Are you aware of it?
14:04So then I said, okay, I don't want to be aware of it, but some things come to my ears.
14:10It's not nice.
14:12So I mean, like, you know, if you can't, I read this somewhere, which is a brilliant thing,
14:17which is if you cannot kill a woman's dreams, your character assassinate her.
14:23Yeah.
14:24So it's easy for them to be doing things like that.
14:26Oh my God, what abusive language.
14:28What, what terribly terrible abuses.
14:33It's awful freedom of expression and all that.
14:37I'm a firm believer.
14:38But the day you're slandering, the day you're defaming me and the day you're like butchering me just because my film released,
14:45it got censored.
14:46Do they even know how hard I had to fight to get that film out?
14:50It wasn't easy.
14:5125 cuts because I was one of the reporters covering me.
14:55Forget the 25 cuts.
14:56It was, it was a 20-day process.
14:59Like today at 12.30, I think we got the certification with the cuts.
15:07And tomorrow 9 a.m. is my release.
15:10Yeah.
15:11How do you do those cuts?
15:12It is just that we were working literally like an army, like the military.
15:16I mean, there's no, I don't have the choice or the luxury of saying I can't do this.
15:22Oh my God, how am I going to do it?
15:23I never operate like that.
15:24Yeah.
15:25So my friend, Milind, he was on the post.
15:27He went off to Bombay the previous day.
15:29He was sitting there on the VFX and the DI saying whatever cuts come, I'm here to do that.
15:33And then I was sitting here with the editor.
15:35We were just waiting for the cuts to be given so we can do the cuts.
15:38And then there was somebody sitting in the mix whole night.
15:41Nobody slept for 48 hours.
15:42I mean, that's no big deal in cinema.
15:44But none of us slept and none of it came from, am I going to be paid?
15:50Am I being paid extra for the money?
15:53There was Ashirwad.
15:54He's a North Indian.
15:55He's my colorist sitting there with DI.
15:58He was hearing about the sensor issues that we were having.
16:01And he was sitting there that he was, he's the biggest, biggest colorist in the country.
16:06And he's just sitting there waiting for the cuts to be told so he can sit and do the work.
16:09He just wanted the film to release.
16:11So I'm saying there was so many people passionate about bringing this film out.
16:15And that kept me going.
16:16And that's what kept us going.
16:18But of course, I don't expect everybody to, you know, understand these struggles and say,
16:23okay, let's make this film a hit.
16:24Let's support this film.
16:26Not required.
16:27Watch the film.
16:28If the content works for you, you support us.
16:30You support us.
16:31You support the film.
16:32And we're grateful.
16:33But all these things had happened in the sensors.
16:36And it was not easy.
16:37It really was not easy.
16:39There was a lot of, you know, constant monitoring that was happening for Parasakti.
16:43So I very well remember the anticipation for Parasakti that came.
16:47I still remember that day.
16:48But ma'am, what was the sort of discussions that you had with the sensor body?
16:53Because this film is a very strongly politically rooted film.
16:57So what sort of deliberations did you have with them?
17:00And when they suggested those cuts, how did you make sure that your vision wasn't distorted in any way?
17:06How did that go?
17:08Okay.
17:09So for the first time in my life, in my small journey, actually, it's a few films.
17:15I've just done two films, really straight films.
17:17And in that, I have never had this thing of going to the revising committee.
17:22I have had only cuts given to make, like, I remember entering the sensor office for Irdisutra.
17:31And the board head, he just saw me, the chairman just saw me.
17:36And he said, who do you want to watch your film?
17:39I said, the youth.
17:41He said, I want everybody to watch your film.
17:43So I want to give you a U.
17:45I want to give you a U.
17:46But you'll have to do these things for you to get a U.
17:49I said, okay, I'm game.
17:50And I put the pad and everything.
17:51And then I was like arguing, arguing, arguing with them.
17:54But for the most part, we did what they had wanted us to do.
17:57And it wasn't so brutal either.
17:59See, for a creator, anything is brutal.
18:02If you're going to remove an A from my sentence, it's brutal.
18:05Okay.
18:06But somewhere you have to get practical.
18:08Do you want to bring your film out?
18:09And then you get practical.
18:11Because you've chosen something that's not easy.
18:13And so this was for the 5th.
18:15Our film's release is on the 10th.
18:17Okay.
18:18So the 5th, they called me in.
18:19They watched the film.
18:20And like I said, and I continue saying, the person, the censor board member, who was really, really democratic in his approach.
18:30And he told me, you have made a film that is so, what do you say?
18:37Literally tea.
18:38And you want us to certify this and everything.
18:44But he was smiling.
18:45And he said, okay, I will be certifying.
18:48However, you will have to do a few audio cuts alone to get this film out.
18:54So I said, I'm fine, sir.
18:56So I had my pad and everything.
18:57Like, as usual, regularly.
18:58I was going to write it down.
18:59But he said, no.
19:00We need to discuss a bit more.
19:02And there are lots of things that need to be put down and collated.
19:06So we'll give it to you in a couple of hours.
19:08So we're just hanging around there for a couple of hours.
19:10But they said, no.
19:11The next day.
19:12The next day.
19:13And the next day.
19:14And the next day.
19:15So I got my cut list only on the 8th afternoon.
19:19So 8th afternoon, I get my cut list.
19:23So the cut list was not given to me in front of the censor board.
19:26Wherein I sit and I argue with them.
19:28Yeah.
19:29I was not given that opportunity.
19:31But then when I saw the cuts, they were not something that were going to derail the film.
19:36Okay.
19:37So you're happy with the cuts?
19:38I'm never happy with the cuts.
19:40No filmmaker is happy with the cuts that were given to them.
19:43Because I was making a film which could be on slippery ground for the most part.
19:52I was trying to keep away the red flag material from my film.
19:55So there was not too much violence.
19:57Everything was controlled.
19:58And I was watching it with the hawk's eye to see like where would the censors, you know,
20:02have an objection to this.
20:03So I was being very very careful.
20:05Because to me, the ultimate goal was to take it out there and put it in front of the people.
20:09The whole anti-Hindi imposition agitation movement that happened in the 1960s.
20:16The whole theme is sort of rooted in Dravidian ideology.
20:21Right.
20:22And leaning towards a political party.
20:24So how do you ma'am as a filmmaker ensure that, because there is a certain section that
20:29is keen to brand you under a certain light.
20:32Because it looks like you are endorsing a particular ideology, a particular party.
20:36So how do you then as a creator sort of distance yourself from that light and ensure that you
20:42front yourself as only a creator.
20:44How do you do that?
20:45How do you separate that?
20:46So what was interesting to me, when I came across this particular movement, when I saw
20:51this particular thing in history that had happened in the Varlathla Varumbodha, I saw
20:55it as a student movement.
20:57And that time was when the students fought.
21:02And I have only shown that time.
21:04Now, if you are going to go back, like there are certain sections of society which say,
21:08we were not represented and we were there.
21:11We were like, we were so a part of this and everything.
21:15Lots of people like that.
21:17If I have to start the story, it needs to start even way back in 1918, when the first Hindi
21:22Prachar Sabha was brought to the Madras Presidency to spread Hindi.
21:25Right.
21:26I haven't started there.
21:28And then Periyar isn't over there in my film.
21:31He's not there.
21:32And he was the one who started the anti-Hindi imposition, agitation in the first place in
21:37the 1930s, 37, 39.
21:39And then you see many, many, many, many years after that.
21:42I started it with the promise of Nehru, which was made in 1959 and go on to 65 when the constitutionally,
21:55we are going to be making Hindi the sole official language.
21:59Those two points interested me.
22:01And in that phase of the Poratam or the revolution or the rebellion, it was the students.
22:10Most of the political leaders were behind bars.
22:12And even if it is a Dravidian ideology, whoever, these students were also very, very taken
22:18with the Dravidian ideology.
22:20There was no two ways about that, that they were looking to Anna and whatever he was saying.
22:27It made a lot of sense to those people.
22:29Youth, as you know, rebel.
22:31Youth, as you know, question.
22:33They're inquisitive.
22:35And I love that energy.
22:37And I love the energy that it just became a student movement.
22:40A huge big student movement would change the course of India, would change the course of
22:45Southern states for sure and for so many other states.
22:49I was watching one of your old interviews where you were mentioning about how in your
22:53older days, how you used to be a huge mainstream cinema fan and how you used to go attend all
23:00of Vijay's first day, first shows.
23:03Are you a Vijay fan?
23:04Because now he's in politics.
23:05But since your cinema also was going to clash with his, are you a huge Vijay fan?
23:10What's your, you know, image of him as an actor?
23:13See, I love, I love Vijay.
23:16I mean, I'm probably I'm his biggest fan.
23:18I'm probably his biggest, biggest, biggest fan.
23:21And there's no two ways about it.
23:24And even Mr. Vijay is aware of it because I have met him and I have told him the same.
23:29And we were at one point supposed to have been doing a film together that didn't pan out
23:35due to various reasons.
23:36But I'm saying he is one actor that I have loved.
23:41So now all this that is happening around us.
23:44The film was supposed to come with us at the audio launch.
23:47That was the first thing I said.
23:48I said, I've watched my film 2000 times, but FDFS, I'll go watch Vijay's film first thing.
23:53And I wanted that film to release so badly, so badly.
23:56What happened to Jananayagan, where just two days before release, the censor holds you back,
24:01is something that should not happen to any film, leave alone his film.
24:05And it was never our intention to compete with that film.
24:08How do you compete with the biggest star in the country?
24:11You don't.
24:12It's just that film releases, our film releases, because we need a festival date.
24:15And that's all it was about.
24:17I have, I mean, I still have the same immense love for him as an actor.
24:21Ma'am, I know you speak Telugu, you speak Tamil, you speak English, and you also speak Hindi.
24:26So, so many languages.
24:27And your film is also about against the imposition of a particular language on a state.
24:33Overall, in the political scheme of things, there is a lot of narrative about Hindi being imposed,
24:40especially in South India, since you've also made a film on that.
24:43What's your take on that in real life?
24:46So this was the problem that existed in sixties.
24:49That's what I've spoken about in the film.
24:51I have not referred to the present.
24:52Now coming to the present imposition of any kind of a language of a law of anything that is non-democratic
25:02doesn't sit well with me.
25:03And that doesn't sit well with anybody.
25:06Like, like I was saying in an interview the other day, my kids today don't want to be asked where they're going.
25:11When will they come?
25:12Who they're going with?
25:13What do they want to do?
25:14They just want that freedom, you know?
25:16And if you're going to impose, see, I know so many languages.
25:20That's because they come to me.
25:21They, I find learning languages easy, but it's not easy for everybody.
25:25So language is everything.
25:27It can make you feel inferior.
25:29It can make you feel like you don't belong.
25:32Right.
25:33I have to belong.
25:34And for that, I cannot have a foreign language or a language that I have no desire to learn imposed on me.
25:40Now, if I'm going and working in another state where I have to learn the language, I'm game for it.
25:45But sitting in my state, you telling me you learn another alien language, a language alien to you and bring it in here and you become an expert at it.
25:54It's not possible.
25:55You've watched the film now in theaters.
25:56You've seen how the audience have received it.
25:59What, according to you as a director, was the best decision that you made about this film?
26:04And what, according to you, did you feel that there is more scope for improvement in that film?
26:09What's been your introspection so far?
26:11The best decision I made about this was, I would say, the casting.
26:18I enjoyed working with this cast.
26:21It was, it was such a new experience for me.
26:23And they were all like, you know, the actors before that I've worked with, I've known them.
26:28I literally have grown with them.
26:29I've grown up with them.
26:31But these guys are like, you know, literally, they look at me as like some school mom or something like that.
26:37And, you know, was bantering with you at the audio launch.
26:42Yeah, he's like that.
26:43And so, but it was fun to dig into something that to dig into these people whom I don't know.
26:49We've just interacted on the readings and everything.
26:51But I just loved working with this cast.
26:53I think that's a huge takeaway for me from this film.
26:56All of them, all of them.
26:58And, oh, Ravi is like, I just loved working with him.
27:04He's a single take artist.
27:05He's, he just so gets you.
27:07He's just listening to you.
27:09And so is Adhavan.
27:10So is Ratnamala.
27:11So is, I mean, Shri Leela.
27:13And SK is a joy to work with because he's so easy.
27:17He's just easy.
27:18So, and that's really, that's the biggest thing I would say this film gave me.
27:23And the second biggest thing that this film gave me is to get out of the senses and be there.
27:28So that to me is a huge, the most happy part of this film is that, that I was able to get my film out.
27:36Just yesterday in the news where there is the book fair and people are going and buying books on the Hindi imposition, anti-Hindi imposition.
27:43Yeah.
27:44There's huge, huge demand for those books.
27:47Makes me so happy.
27:48Same thing happened for Simply Fly.
27:50Simply Fly with Captain Gopinath's life.
27:53Do you think it's still prevalent, the imposition of a language?
27:56Your mother tongue and mother are not very different.
27:59So you fight for that.
28:00You're not going to let go of your mom.
28:01You're not going to let go of your mother.
28:03Okay.
28:04That's more.
28:05Thank you, ma'am.
28:06I really want from India today that Parasakti does more numbers and, you know, just shines bright in the theatre.
28:11Because I know one of your cinemas didn't get a theatrical release.
28:14It directly went to OTT.
28:16How badly you wanted Parasakti to find a theatre release.
28:19I'm so glad that happened.
28:20Thank you so much for your time.
28:22Yeah.
28:23In that context, you realize how happy I am today.
28:25Yeah.
28:26Because several boxes have gotten ticked off.
28:28Yeah.
28:29You know, so I'm very happy.
28:31I'm peaceful.
28:32Okay.
28:33And I just want the film to do really, really well.
28:35Yeah.
28:36And that's it.
28:37Okay.
28:39Thank you so much.
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