Social reform amidst a sea of poppies
Vivek Chaudhary's I, Poppy is a ruminative film on poppy cultivation and the insidious way the process in India is tied to exploitation more than growth. It throws light on government policies, which issues licences for opium poppy cultivation and buys back the produce at Centre-decided rates, and outlines the helplessness of farmers and their vulnerability to corruption. The filmmaker, however, inspects the social malaise through a personal dynamic. At the heart of I, Poppy lies Vardibai, a Rajasthan-based poppy farmer and her iron-willed, schoolteacher son, Mangilal.
There is a world of difference between them. Vardibai is old and unlettered; the middle-aged Mangilal is the first educated member in the family. She spends her time tending to poppy flowers; her son either talks over the phone indoors or rousingly speaks to farmers outside. They are Dalits but differ in their responses to injustice. Vardibai is passive to the aggressive money-making tactics by corrupt officers where licences are revoked at will; Mangilal mobilises crowds to fight against manipulation of farmers. She discourages him from protesting but he carries on, as if, fed on the very crop they sow, he is intoxicated to the idea of social reform.
I, Poppy, with its intimate title, offers a sobering portrait of a rebel and the cost of his rebellion. Shot over four years, it underscores the loneliness that comes with it and by insisting activism to be a full-time job, also questions its feasibility in a dissent-averse country like India. The film premiered and won the best international feature at Hot Docs, marking a consecutive win for an Indian protest documentary at the Canadian documentary festival. Last year, Nishtha Jain's Farming the Revolution secured the coveted honour. Prior to the announcement, Chaudhary spoke about his journey. Edited excerpts from an interview.
How did you find Mangilal and Vardibai?
I lived in western Rajasthan where opium addiction is a culture. Growing up, I have seen elders have this brown liquid while we drank milk. Opium can be a deadly drug but is also a benign pain relief medication. At some point, I got fascinated with poppy and in 2017, researched and realised how potent the crop is. Multiple factors—the Narcotics Bureau, the black market, people who require morphine for palliative care—try controlling it for vested interest. It started out as a bigger story and at some point, became too big which came with safety issues. We scaled it down by going back to the source where it is grown.
In 2018, I shot with three families for a whole season (70-80 days for six months). But they ended up being scared to be on camera for a story like this. We were in a fix. Then at a protest, I met Mangilal. Initially we did not like him because he talked too much (laughs). We were also looking for someone older like a quintessential Rajasthani farmer. On a whim Mangilal asked us to come home and meet his mother. We agreed.
His mother didn't consider our presence. From the moment she saw her son, she started scolding him for being late. She kept saying, 'you will be killed. Don't do this". I asked if we could shoot, and when we did, the presence of the camera almost had no effect on them. I realised it was a great story.
The fact that they are from the Dalit community informs their resistance. But it appears that you had not set out to explore it.
Absolutely. When I was looking for families to shoot with, I was taken only to villages where upper caste people lived. Lower caste people live tucked away and our attempts to talk to them were thwarted by village heads. Access was difficult. But when I met Mangilal and his mother, I was struck by the dynamic they shared. We tried not overplaying their caste. There is one reference at the 60-minute mark but there are many references to (B.R.)Ambedkar. His portraits adorn their house and Mangilal wears the Ambedkar blue.
Mangilal was associated with the Bharatiya Janata Party in fringe capacity 10 years ago. Later, he read books about Ambedkar and realised that he walked a certain way into the world because of that man. Vardibai resists fighting bigger battles because she has grown up in a world where untouchability was rampant. She wants to protect whatever space she has.
You shoot them differently, opting for static framing for Vardibai and more frenetic shots for Mangilal.
Our visual treatment became clearer while writing the several applications to procure funding. Mustaqeem Khan, the cinematographer, and I decided on the filmmaking intuitively. Since Vardibai spends most of her time in the field, we put the camera on a tripod. Mangilal has this relentless pace. A million thoughts go inside his head so we had to be ready.
The film interprets the social reality the poppy farmers are in through the difficult relationship between Mangilal and his mother. Yet, a sense of boundary comes through in the way you have shot them. For instance, we never see Mangilal in his room. His wife remains absent till she appears in one scene but her face is obscured. His sons appear much later. Was this due to limited access?
During shooting, we stayed at their house. They cleared the storage room and put out two cots for us. There was a connection, especially between me and Mangilal. In a way, both of us are stuck because of who we are as people. If he was not an activist, he would go on with his life, and if I was not a documentary filmmaker, I would invest my time and energy somewhere else, and not keep going back to making films where there is nothing, financially speaking. Even with his mother, I could converse freely because I speak the language.
We got a rhythm of their lives. Mangilal and his wife have a difficult relationship and although we shot with her, we both felt uncomfortable. Initially, when his sons and he argued or fought, Mustaqeem and I stayed in our room. It felt wrong to intrude. Little over a year later, we asked Mangilal if we could shoot and he instantly agreed. He could sense the film we were making. There was a push and pull in the filmmaking because a family dynamic had formed.
'I, Poppy' ends on a solemn note. Given that this is a film about a man standing up against a mammoth system that will only continue, when did you decide to stop filming?
During the shooting, we got a sense that Mangilal's steps were becoming bigger. He was mobilising larger crowds and something was waiting to give. Either he will win, which is the story everyone wants to see, or he won't. Since this is India, one has to find that happy ending. This is why we give him a hero-like shot at the end. There could not have been a definite resolution but we wanted to see where things go. At the end, when the rain destroys their crops, it seemed like an appropriate point to stop. They won but they also lost.
Ishita Sen Gupta is an independent film critic and culture writer. Her work is informed by gender and pop culture.
Also read: How to make evacuation drills accessible for the disabled
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
an hour ago
- Time of India
Priyanka Chopra enjoys dinner at Vikas Khanna's Bungalow in NYC; chef dedicates ceiling decor to Malti Marie
Priyanka Chopra Jonas recently stepped out for a cosy dinner at celebrity chef Vikas Khanna 's restaurant, Bungalow, in New York. Accompanied by her longtime manager Anjula Acharia and close friends, the global icon indulged in a lavish spread of Indian cuisine and desserts while soaking in the warmth and artistry of the chef's hospitality. Taking to Instagram, Anjula shared a series of photos and videos from their visit, capturing intimate moments, delicious dishes, and a joyful group portrait with Vikas . The chef, in turn, posted a video offering a glimpse of Bungalow's vibrant glass ceiling — adorned with Sambalpuri handkerchiefs in celebration of the upcoming Rath Yatra and the artistry of Western Odisha. Vikas Khanna dedicates decor to Malti Marie What made the evening even more special was a thoughtful tribute by Vikas to Priyanka 's daughter, Malti Marie Chopra Jonas. Sharing the video on Instagram, he wrote, "Everyone keeps asking why we adorn our glass ceiling every single day. They say, no one even notices… I always smile and reply: It's not just for the ones walking in. It's for the ones watching over us from above." He added, "Today, I adorned the ceiling for Malti Marie Chopra Jonas. Thank you @priyankachopra @anjula_acharia for making Bungalow so auspicious today. Today was a celebration of the upcoming Rath Yatra & the artisans of Sambalpur & Western Odisha." Anjula responded to the emotional post, writing, 'Thank you for spoiling us so much, we loved it @priyankachopra.' by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 임플란트 최대 할인 지원해드려요 임플란터 더 알아보기 Undo 'Still in a food coma,' says Priyanka Priyanka also took to her Instagram Stories to share her appreciation. Reposting Anjula's video of Vikas setting up their meal, she wrote, 'Still in a food coma. You're the best host, Vikas.' For the outing, the actress kept it chic and elegant in a black dress paired with a matching blazer and shoes. The group was seen relishing a multi-course Indian meal followed by an assortment of desserts, giving the evening the perfect sweet ending. A return to a favourite place This isn't Priyanka's first visit to Bungalow. In December last year, she dined at the restaurant with husband Nick Jonas and their friends, later posting a message of gratitude: 'Thank you @bungalowny for being incredible hosts. And Vikas, thank you for a taste of home.' Bungalow, located in New York's East Village, opened in March 2023 and has since become a hotspot for Indian cuisine lovers and global celebrities alike.
Time of India
2 hours ago
- Time of India
Umrao Jaan set for 4K revival as Rekha-starrer cult classic re-releases in theatres on June 27
The courtesan of Lucknow is poised for her grand return. On June 27, Muzaffar Ali 's celebrated 1981 masterpiece Umrao Jaan will be re-released in theatres in a digitally restored avatar, promising audiences a cinematic journey steeped in poetry, pain, and poignancy. Backed by the National Film Development Corporation and the National Film Archive of India , the film has been revived under the National Film Heritage Mission, marking a significant moment for Indian cinephiles. Rekha's Finest Hour At the heart of Umrao Jaan lies an iconic performance by Rekha, whose portrayal of the 19th-century tawaif earned her the National Award for Best Actress. Director Muzaffar Ali, speaking to SCREEN, reflected on her layered preparation: 'She had to prepare on many levels—language, singing, dancing. Yes, there were people to guide her, but she performed beyond expectations.' He added, 'Working with her was a gift because this film is woven from quiet emotions. And it takes an actor like her to absorb those feelings and translate them onto the screen.' For many, Rekha did more than just play Umrao—she became her. Her haunting eyes, graceful dance, and restrained agony turned the film into one of Indian cinema 's most soul-stirring experiences. View this post on Instagram A post shared by PVR Cinemas (@pvrcinemas_official) Guns, Grit, and Gharanas Ali also recounted a fascinating moment from the shoot, revealing how a group of fans in Malihabad—some armed—eagerly stormed the set to catch a glimpse of Rekha. 'It wasn't as scary as it sounds,' he said with a smile. 'They were thrilled. And later, I even cast them in the film. You see, I made them all decoys, using the very same guns they'd brought.' The anecdote captures the fevered fandom the actress commanded even in the early '80s. A Story Both Historic and Haunting Adapted from Mirza Hadi Ruswa's 1899 Urdu novel Umrao Jaan Ada, the film tells the tale of Amiran, abducted and sold into a Lucknow kotha, who later reinvents herself as the poetess and courtesan Umrao Jaan. Her entanglements with three men—portrayed by Farooque Shaikh, Raj Babbar, and Naseeruddin Shah—form the emotional skeleton of a film that meditates on longing, identity, and the impossible pursuit of love. You Might Also Like: Rekha's co-star reveals how she transformed into a 'white swan from ugly duckling', says she was an enigma Muzaffar Ali noted that the inspiration to adapt the novel came from its timeless resonance. 'The idea was always about this girl, set a hundred years ago, yet facing something timeless,' he said. Songs that Echo Through Time No tribute to Umrao Jaan is complete without its music. Composed by the maestro Khayyam with lyrics by Shahryar and soulfully rendered by Asha Bhosle , the soundtrack has attained immortal status. 'Dil Cheez Kya Hai,' 'In Ankhon Ki Masti Ke,' and 'Yeh Kya Jagah Hai Doston' remain cultural touchstones, instantly evoking the film's melancholic grandeur. — nfdcindia (@nfdcindia) In an era dominated by loud visuals and quick-paced edits, Umrao Jaan is a gentle reminder of cinema as an art of stillness and silence. Its return to theatres is not just nostalgia—it's a statement. It invites newer generations to witness a kind of storytelling where poetry meets performance, and silence often says more than words. You Might Also Like: When Rekha's new look made Jaya Bachchan cry at a famous Bollywood wedding, biographer reveals
India.com
2 hours ago
- India.com
When and why does Rishabh Pant do 'backflip celebration'? The real reason will surprise you
Rishabh Pant. (PIC - X) New Delhi: Team India's star wicketkeeper batsman Rishabh Pant is always in the news for his aggressive batting. But at this time, along with batting, Pant is making headlines for his 'backflip celebration'. Pant did the 'backflip celebration' for the first time in IPL 2025. After this, Pant has now done a 'backflip celebration' against England on Saturday. Know here when and why Pant does the 'backflip celebration.' When and why does Pant do a backflip celebration? Pant was badly injured in a car accident in the year 2022. After this, he stayed away from cricket for almost two years. Pant has started celebrating by doing a backflip only after this accident. Pant expresses his happiness by celebrating in this way. This celebration of Pant somewhere shows his ability to fight difficulties. It tells that he is capable of coming out of any situation and performing brilliantly on big occasions. Pant celebrated by doing a backflip for the first time after scoring a century in the IPL. At the same time, once again he has celebrated by doing a backflip after scoring a century in the first Test against England. Pant is also known as 'Spidey'. This celebration of Pant also matches his nickname. Let us tell you that Pant himself has not yet revealed why he celebrates like this. WATCH VIDEO BELOW: Rishabh Pant's back flip has become the signature celebration for Pant post accident comeback,this is surely gonna ne the most decorated celebration in future Well done Spidy #RishabhPant #INDvsENG — Pawan Mathur (@ImMathur03) June 21, 2025 Rishabh Pant scored a historic century against England: Risabh Pant scored a brilliant century in the first Test against England on Saturday. Pant scored 134 runs in 178 balls. In this innings, Pant hit 12 fours and 6 sixes. This is Pant's seventh Test century. With this, Pant has become the batsman to score the most centuries as an Indian wicketkeeper. With this century, he has left MS Dhoni behind. Dhoni has scored 6 centuries in Tests.
