- Exploring Sudath Mahadivulwewa’s cinematic call for inner revolution
Film is one of the most captivating methods of modern storytelling. It has the power to communicate stories, perspectives, and experiences to mass audiences in a way that is near unparalleled.
Last month, filmmaker Sudath Mahadivulwewa, a renowned Sri Lankan filmmaker and educator made a comeback to local cinema with ‘My Red Comrade,’ his first personal production in 20 years which explores revolution, ideology, and personal transformation, and ventures into the realms of experimental, thought-provoking, and politically-charged cinema. With ‘My Red Comrade,’ Mahadivulwewa shares his view on the necessity of cultural sensitivity and internal revolution at the individual level as a driving force for societal change.
Cultural being; the precept of ‘My Red Comrade’
The concept of a ‘cultural being’ lies at the heart of ‘My Red Comrade’. “The main subject of the film is being sensitive to culture and the things around you, whether it be political, economic, social, technological, environmental, or legal factors,” Mahadivulwewa said, emphasising the importance the individual had in driving long-term change by making informed decisions through reflecting and debating within themselves rather than blindly following external influences.
“I seriously believe we have a lack of cultural beings in Sri Lanka and that is why most of the problems are with us,” Mahadivulwewa said, adding that the current trend of Sri Lankan society to make ill-informed decisions that lacked personal reflection and understanding, as well as accurate and unbiased information, was what had led to many of our deep-seated issues, both political and societal. In order to address these issues meaningfully, he stressed that it was crucial for Sri Lankans to look within themselves.
Unpacking the film itself
The narrative of ‘My Red Comrade’ is structured around the memories and experiences of two central characters, representing different facets of leftist ideology, particularly the original ideas of Marx and Lenin, and how these have been distorted over time.
Using a Native American fable about a wolf, the film critiques capitalism’s destructive impact on the environment and human beings, questioning the social and political issues arising from such an inequitable system. The film opens with the main female character evading a Police hunt, hiding in a dilapidated slum occupied by a middle-aged man. The male character, with his untidy appearance and extensive library, embodies the archetypical leftist activist. Despite his ideological beliefs, his initial rudeness and later compassion towards the girl reveal his contradictions.
A core character whose impact is felt through the story (though he himself is not a character in the film) is the girl’s father, who met his death at the hands of security forces. His Marxist legacy lives on through his daughter who embodies the original, untainted ideals of Marxism as he taught them to her through their mutual love of literature. Mahadivulwewa described this character as someone who was “well-read, with an extensive library, and who used to buy all the Russian literature immediately when it was published to use at home”. This character’s dedication to knowledge and culture is evident in how he trains his daughter to appreciate the small details in life, like the sound of rain.
The second character, while sharing similar ideological roots, has had a more turbulent life. He has been subjected to torture and missed many significant moments in life, leading to a practical approach filled with gaps and contradictions. This character’s experiences have caused him to drift away from the original Marxist ideals. The girl continuously questions him, exposing these inconsistencies and challenging his practices.
The film symbolically depicts the failure of revolution in Sri Lanka, arguing that it must start in people’s hearts. The girl’s practical approach contrasts with the comrade’s isolationist views. It also addresses the psychological trauma experienced by Sri Lankan society, emphasising the need for professional help for those affected by Post-Traumatic Stress Disorder (PTSD).
Exploring mindful revolution
A pivotal theme in ‘My Red Comrade’ is the nature of revolution and Mahadivulwewa argued that true revolution must begin within individuals and that societal change could only start with an inner transformation of each person.
“Revolutions should happen not on the ground but inside you. Every individual should have a revolution within their inner soul,” he explained, challenging the traditional view of revolution as an external, collective action and instead framing personal growth and transformation as the foundation for broader societal change.
Also akin to revolution is Mahadivulwewa’s approach to making ‘My Red Comrade’ – a film that cannot be easily classified into a single genre. “Is it a political film? Yes. Is it a love story? Yes. Horror? Yes. It has a lot of different elements and genres in one,” says Mahadivulwewa. This eclectic mix reflects the complexity of the themes explored in the film and keeps the audience engaged through its varied narrative styles.
Reflecting on his motivation for making the film, Mahadivulwewa recounted his journey over the last two decades, explaining that after his first film in 2004, ‘Shades of Ash,’ he had joined the Sri Lanka Foundation’s film school and become heavily involved in various industry activities.
However, realising it had been 19 years since his last film, he felt a compelling need to return to film. He did, however, face some pushback when doing so, with parties questioning if returning to film after such a hiatus was possible, especially from a creative standpoint, given the evolution of film over the past two decades. “I looked at this as kind of a blessing in disguise,” Mahadivulwewa said of the scepticism he had received, and he viewed it a challenge to prove his creative relevance. “I have to now prove if I’m up-to-date or not in a creative way.”
And as far as Mahadivulwewa is concerned, ‘My Red Comrade’ proves itself. The film, made on a small budget with only two characters, was shot over four days and showcases the best of his abilities. These characters, portrayed by Tharindi Fernando and Asiri Allage, question the prevailing economic and social systems as well as capitalism, and promote communal action over individualism.
A message to audiences
Mahadivulwewa passionately believes in the transformative power of cinema. “I consider film as the most powerful tool in the 20th century. A single film can transform a total system or one particular individual,” he said, adding that ‘My Red Comrade’ was meant to be a transformational film and very much a departure from the mainstream. Instead, it is designed to be thought-provoking and challenging, offering a “heavy bag” of ideas for the audience to ponder and discuss.
One of the biggest changes to Lankan cinema over the last 20 years, Mahadivulwewa noted, was Sri Lanka’s fondness for the status quo. Looking back on his first film ‘Shades of Ash,’ he noted that despite the film being released in the middle of the war, there was still a strong supportive network for powerful, aesthetically and politically-charged films.
Today, however, despite access to modern tools like social media and streaming platforms, serious intellectual engagement with cinema seems to be lacking. “The environment has changed significantly, and it’s more challenging to find the same level of support and discussion,” he observed.
Mahadivulwewa hoped viewers would leave the film inspired to engage in meaningful conversations about societal betterment. “If you like to see the film, there’s a nice love story, and all the elements are there. But the purpose of the film is different – powerful, social-oriented, and building expectations of a more powerful, better society than this one,” he shared.
Through ‘My Red Comrade,’ Mahadivulwewa seeks to encourage viewers to become cultural beings and transform themselves and society through self-awareness and understanding. He hopes the film will provoke thought and discussion about improving society. “If every individual, after watching the film, wants to see what this cultural being means and why they should transform themselves into a cultural being, that debate will slowly start charging them into a cultural being,” he explained.
‘My Red Comrade’ is above all, a call for an introspective approach to societal change, urging individuals to transform themselves first to create a better society. Interestingly, Mahadivulwewa shared that Kurunegala was performing even better than Colombo in terms of audience reception and also boasted the closest physical viewing experience to that of the state-of-the-art Colombo theatres. The film is currently showing at various cinemas, including the Colombo City Centre (CCC) and PVR, as well as close to 20 other cinemas across the country.