• Chris Antony on local cinema, streaming platforms, and his upcoming film ‘Unlock’

Chris Antony is part of a new wave of Sri Lankan filmmakers pushing boundaries, telling deeply personal stories, and capturing the shifting realities of life in the country. His last film, ‘Passport’ (2024), took on one of the most urgent topics of our time: The growing number of young Sri Lankans seeking better futures abroad, often through illegal or dangerous means.

Antony is proving that Sri Lankan cinema can be both thought-provoking and commercially viable. It’s clear he has no intention of slowing down, with the announcement of his upcoming movie ‘Unlock’. Whether through socially conscious dramas or bold new experiments, his work is shaping the future of Sri Lankan storytelling, one film at a time.

With media rapidly changing, Antony is determined to make films that matter and films that reflect the complexities of Sri Lankan life while remaining compelling to a broad audience. In conversation with The Daily Morning, he reflected on his journey as a filmmaker, the challenges of bringing movies to life, and the state of cinema in Sri Lanka today.

Following are excerpts from the interview:

What led you to filmmaking and how has your creative process changed over the years?

I’ve always been drawn to storytelling. When I was a kid, I was obsessed with watching films, not just for entertainment but because I loved the way they made me feel. I started out in photography, but I quickly realised that I wanted to do more than just capture a single moment. I wanted to create entire worlds. Filmmaking was the natural next step.

Over the years, my approach has evolved. Early on, I was just excited to make anything, but now, I think more deeply about the kind of stories I want to tell and why they matter. I want my films to resonate with people on a personal level but also speak to larger societal issues.

Your last film, ‘Passport’, tackled illegal migration. What inspired you to explore this topic?

The idea for ‘Passport’ came from real life. I’ve seen so many people, friends, family, people I grew up with, struggle with the decision to leave Sri Lanka. Some take legal routes, but many don’t have that luxury. They end up taking extreme risks. It’s a reality that’s not talked about enough.

For a lot of young people, the choice isn’t just about seeking a better life; it’s about survival. But at what cost? Some end up in exploitative jobs, some are arrested, some never make it to their destination. I wanted to tell a story that captured both the desperation and the hope that drove people to take these risks.

How do you balance artistic vision with the practical realities of filmmaking when it comes to factors like funding and distribution?

It’s not easy. Every filmmaker dreams of making exactly the movie they envision, but in reality, you have to work within constraints. Sometimes you have to cut scenes, sometimes you have to adjust your shooting schedule, and sometimes you have to get really creative to make things work on a budget.

For ‘Passport’, we had to be very strategic. We shot in real locations instead of building sets, and we used a small, tight-knit crew to keep costs down. But at the same time, I refused to compromise on the heart of the story. If something felt essential, we found a way to make it happen.

Do you think Sri Lankans still value the cinema experience or is streaming taking over?

I think people still love going to the movies, but their expectations have changed. Streaming has made everything more convenient so people can watch high-quality content from their homes, at any time, without worrying about ticket prices or transport. But there’s something about the cinema experience that can’t be replaced. Watching a film with a group of strangers, feeling the collective reactions, getting lost in the big screen – that’s special.

The challenge for filmmakers now is to create stories that make people want to go to the cinema. It has to feel like an experience worth leaving the house for.

Has the rise of streaming platforms changed the way you make films?

Definitely. When I started, we were only thinking about theatrical releases or TV screenings. Now, there’s an eventual possibility of a film being picked up by Netflix, Amazon, or even a regional platform. That changes the way we structure stories; it means thinking about pacing differently, making sure a film works both on a big screen and on a laptop or phone.

At the same time, I don’t think Sri Lankan filmmakers should try to force their films to fit into international trends. We have unique stories to tell, and if we tell them well, they’ll find an audience, whether that’s in cinemas, on streaming, or both.

With Sri Lankan audiences having more access to international films and series through streaming, do you think this affects the success of local films in cinemas?

Yes, but not necessarily in a bad way. Audiences are exposed to high-quality storytelling from all over the world, which raises their expectations. They’re not just watching the latest Bollywood or Hollywood blockbuster anymore, they’re watching Korean dramas, European indie films, and everything in between.

This means local filmmakers have to step up. If we keep making the same kind of films without evolving, people will choose to stay home and watch something else. But if we tell fresh, compelling stories that feel relevant, people will still come to the cinema. The challenge isn’t competition; it’s making sure Sri Lankan films feel just as exciting as what’s available online.

Are there any changes you'd like to see in Sri Lanka’s film industry to help it grow in the streaming era?

One major thing is accessibility. Right now, Sri Lankan films don’t have enough platforms. If you miss a film in the cinema, it can be really hard to watch it later unless it gets picked up for a TV screening. We need to create better distribution networks, whether that’s through local streaming services, partnerships with international platforms, or even pay-per-view models that work for Sri Lankan audiences.

I’d also love to see more investment in genre films. Streaming audiences love a variety like thrillers, horror, rom-coms, experimental films, so we should be taking more risks instead of sticking to the same formulas. If we create content that feels fresh and exciting, Sri Lankan films can thrive both in cinemas and on streaming platforms.

Do you think there’s enough space for independent and experimental filmmakers in Sri Lanka?

It’s getting better, but we still have a long way to go. A lot of independent filmmakers struggle to get funding, and there aren’t enough platforms to showcase experimental work.

But I do see more young filmmakers trying different things like short films, web series, even documentaries that push boundaries. Social media has also helped so it’s easier now to build an audience and get your work noticed without relying on traditional distributors.

What kind of stories do you think Sri Lankan cinema needs more of?

I’d love to see more stories from underrepresented communities, so stories from the North and from the East, stories about everyday people who don’t usually get the spotlight.

We also don’t experiment enough with genres. We have great historical dramas and social issue films, but why not more thrillers? Why not sci-fi or fantasy? There’s so much potential to explore different kinds of storytelling.

What’s next for you? Any dream projects you hope to make?

I’m currently working on my next movie ‘Unlock’, which I’m really excited about. We’ve just begun production, and it’s shaping up to be something quite unique. It’s a story that I believe will resonate with people, and the team is incredibly talented. We’ve already had a wonderful start, with some amazing cast members on board, including Shalani Tharaka, who will play a significant role. The film is still in the early stages, but I’m looking forward to how it develops.

As for future projects, I definitely have some dream ideas that I hope to bring to life one day. I’m always thinking about stories that are a bit unconventional, pushing the boundaries of what Sri Lankan cinema typically offers. I’d love to work on more genre films, something like a psychological thriller or even a science fiction story, but with a Sri Lankan twist. I’m constantly inspired by new experiences, and I think the beauty of filmmaking is that there are always fresh stories to tell. For me, it’s about finding the right project, the right collaborators, and making something that will make people think and feel differently.