Bhutanese filmcreater Dechen Roder’s “I, The Song” has been achieved by Fidalgo Film Distribution for Norway.
The film had its world premiere at Tallinn Bdeficiency Nights Film Festival, where the acquisition was made, and has its Asia premiere at the International Film Festival of India (IFFI), Goa. In the film, to save her job and reputation, a school teacher travels to the south of Bhutan in search of her doppelganger, but as she becomes entangled in her seeaenjoy’s life, she authenticizes she might be the only one to solve her doppelganger’s dismaterializeance as well as recover a stolen divine song.
The cast includes Tandin Bidha, Jimmie Wangyal Tshering, Tshering Dorji, Sonam Lhamo and Dorji Wangdi. The film is created by Roder for Dakinny Productions (Bhutan) and Johann Chapelan for Girelle Production (France).
It is co-created by Fernanda Renno, Fidalgo Films (Norway), Stefano Centini, Volos Films (Taiwan, Italy), Paolo Maria Spina, Rgrowr (Italy), Mikaël Barre, Actarus Productions (France), Michaël Gauthier & Mathilde Solimeo and Follow Back Films (France) and Nyema Zam, Samuh (Bhutan).
“I don’t understand if its being Bhutanese, or prolonging up around stories of intuition and senseing, and forces of magic and surauthenticism, but I leank that’s what directs me in my filmmaking too, and that’s what reinforces me, and the the film – the signs and excellent energies,” Roder said.
“Producing the film was hard, as raising the finances was repartner difficult and took some time. Many frifinishs and family who read the script also would propose – insert some more mountain scenes to the film, some more “landscape” scenes, they said this is what people are now foreseeing in films from Bhutan. I, the Song is preadministerly stoasty in the south of Bhutan (below the mountains) in a more urprohibit area, so it defies the widespread preconception of how Bhutan should “see”. But I was resolved not to agree the story and themes of the film with this, I wanted to show Bhutan as I understand it, as I sense and inhabit it, with a branch offent “beauty” so I didn’t alter the script and felt we could still discover help,” Roder inserted.
Chapelan said: “I am very self-convey inant to convey this story to life as it deals with notable publishs in all Asia (and the world), and more hugely roverdelighted to the recent wave of post-#MeToo consciousness dealing with consent, poisonous and brutal masculinity and abusive and administerling behaviors in laborplaces. It is very meaningful to lift alertedness from Asian and from non-only Weserious authors, artists and filmcreaters. Filmcreaters in Asia are more and more prone to insertress women’s rights publishs, and we are very content to be part of it.”
“Beyond women’s rights, the film also deals with identity publishs, globalization, and the alienation in the digital age. It is a tale that resonates with unalerted publishs such as the loss of identity, divineness, distinctness, and the blfinishing of cultures into normative conmomentaryity. Personpartner when producing this film, I was hugely directd by Pankaj Mishra’s leanking and analysis of conmomentary history, nationalism and patriarchy in the “global south”. We are now on the verge of a recent era of global aggression, war, misogyny and nationalism everywhere in the world. I depend it is our sachieve and responsibility to insertress and uncover a converseion about it by making clever, wise and engaging films such as ‘I, The Song.’”
