Pink Mirrors - exploring South Asian queerness through cinema
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The Pink Mirror - Edwin Fernandes as 'Umrao Jaan'
We know our stories have existed before we lived them, but we rarely see what they were. The experience of queer South Asians has been limited to either trauma or comedic relief. So our lives are set in those parameters; telling us all we are valued for is our suffering, all while knowing full well that joy and acceptance is in our very essence. We share this joy with each other, as well as our pain, and it’s important we share that with the rest of the world.
I spoke to Harry Singh who curated a screening of queer South Asian talent at the Barbican Center, called Pink Mirrors: Exploring South Asian Queerness. He wanted to showcase the complexity of queerness and the hidden realm of South Asian cinema.
“The Barbican have a scheme called Emerging Film Curators that they run where you submit a proposal and if you are successful, they put you through an intense training program on how to curate film. You learn the practical elements of acquiring licensing but also you speak to industry insiders, people who create big film nights. The exposure to the industry that the Barbican provided was really great. So, I’ve been lucky to have the machine of the Barbican behind me to get the rights to the films, which has really helped.”
The screening had four films; the first BOMgAY, was a collection of shorts accompanied by poems, showcasing erotic fantasies and queer life in Mumbai. Directed by Riyad Vinci in 1996, we watch six grainy films based on a poem by Indian writer R. Raj Rao; two in particular stand out. One of a sex scene in a library where we see the protagonist having a sex fantasy with another man in a library with a stand out moment of two fried eggs placed on top of his nipples as he is penetrated. It is often regarded as India’s first gay film, it represents moments and stories of the gay scene in India. A particular story about constipation and gay sex was met with laughter, while another of a robbery during a public toilet meeting was followed by sighs.
We then saw Gulabi Aaina (The Pink Mirror) 2003, directed by Sridhar Rangayan, a film banned by the film board of India due to its portrayal of two self described drag queens preparing for a performance. The film itself has the feeling of an episode of a typical Indian soap opera, but centring the gay community. There’s a comfort in that - the familiarity of a soap opera watched by millions of Indian people about the gay community feels deserved and much needed. A part of me walked away with the need to create that. A project for another time.
The Booth 2019, directed by Rohin Raveendran tells the story of two women - a security guard at a shopping centre and her lover, who share intimate moments behind closed curtains, careful not to ignite suspicion in their acts. The film was led by silence and anticipation of their meetings, as they navigate their work and lust. There isn’t much representation of South Asian women in love (Fire 1996, directed by Deepa Mehta or Ek Ladki Ko Dekha Toh Aisa Laga 2019, directed by Shelly Chopra Dhar come to mind), so it’s a welcome change to see.
Lastly, we watch Peach Paradise 2022, directed by Shiva Raichandani, a documentary on ShayShay, the co-founder of PanAsian drag collective The Bitten Peach. We go on a journey of ShayShay’s love and acceptance of themselves, their culture and need to share that love. The Bitten Peach brings together people from all Asian communities to showcase talent and dismantle racial stereotypes. Shiva is a prolific film maker with films such as Queer Parivaar 2022 and Always, Asifa 2022 under their belt.
“These films show the community in different ways, for example Peach Paradise is a good example of how queer Asians in the UK are making safe spaces for themselves and championing each other, so that’s really beautiful. BOMgAY gives an explicit insight into the underground gay scene of the 90s, and The Booth is really important because I don’t think there’s enough queer films for women coming out of the Asian scene”
It was important to see these films. Especially to understand the relevance of storytelling in the landscape of cinema. Harry Singh himself grew up immersed in cinema: ”I’ve always loved film, it’s been a big part of my life - my dad’s a massive cinephile so I used to watch films with him. But I never really acted on it until I moved to London and helped produce the 6th edition of a queer film magazine called Little Joe and during lockdown I was really exploring queer film. All I was watching was European and American, focusing on the white experience I almost got fatigued wondering where we are in all this. So I went on a fact finding mission, looking for film of us, made by us, with authentic portrayal of us. I find representation of queer South Asian’s isn’t great - either non existent or we were the least dynamic people”.
Finding queer cinema isn’t an easy task, “A great way to find independent film is by following the festival circuit. There’s an Indian queer film festival in Mumbai called Khashi film festival - I was on their website and you start finding all these directors and producers. The good thing about independent film is the directors are readily available, so I emailed them to get access to their films. I honestly just sat down for hours and hours, day and days, contacting as many people as possible”
The panel talk afterwards hosted by drag icon Mahatma Khandi, was an important discussion between Harry Singh, Bitten Peach co—founder ShayShay, director Shiva Raichandani and photographer Sunil Gupta about the relevance of our representation.
“I remember the first time I saw a queer Asian on TV, my dad let me watch My Beautiful Laundrette (1985, directed by Stephen Frears) and I was taken aback. I was quite young, but I definitely felt something I never felt before. I realised what we can be. Two boys getting together and one of them was brown. It was incredible.”