Parama: A Journey with Aparna Sen is Suman Ghosh’s documentary on Aparna Sen. Ghosh celebrates Sen's works and provides a snapshot of Sen’s life as a filmmaker. Using clips from Sen’s popular films, he juxtaposes them with recent visuals of Sen revisiting the locations where she had shot her films. With a running time of 82 minutes, Ghosh gives a glimpse of the multi-hyphenate person that Sen is — right from being an actor and filmmaker to a journalist and her active participation in politics — with unseen pictures and rare footage. A t2 chat with Sen on Parama and more:

What are your thoughts on Suman as a filmmaker?

It is put together so well. It is not an eulogy. It is a balanced film where people are talking about me, not always very favourably. Sometimes there were critiques also which was fine and I like the fact that he talked to the line producer, executive producer and editor of my films too. People who worked closely with me... my music director Debojyoti Mishra. I missed Neel Dutt who did music for quite a few of my films. So all that was nice.

While introducing the film at KIFF, you said that it was awkward for you to be the subject of a film...

My entire life is under a microscope for people to see! That is a little intimidating but at that time I didn’t know what people had said or what was there in the film.

The film is like a collage of so many different roles that you played in your life, both personally and professionally. While shooting did you feel that this would be a film of archival value and would you like your legacy to be remembered in this manner?

While shooting I didn’t feel that. It has been a longish life and I must have done a lot of different things. I wish my archival sense was better. Even Suman said that it was difficult because I had not retained anything. But after watching the film I felt so because my archival instincts are abysmal. I am so glad that Suman has done something for posterity who will sort of see this and get perhaps some essence of the woman behind all this. I do think this is of archival value.

The film takes you back through your journey. When you look back at your journey now, what do you feel about it?

I think of the young woman in her 30s. She either did not think of consequences so much or had plenty of courage! I never even thought whether the audience would take it if I made a film about the old Anglo-Indian. I didn’t even think of these things. When I felt something was right, I did not think about what people will say or whether people will like it. I just went ahead and did it. Now looking back, and seeing people who are constantly worried about how their films will be accepted, I think maybe I just had a lot of spunk at that time. (laughs)

Interestingly, you got to revisit the film locations where you shot your films...

I think that was very interesting for me. To revisit the locations and see how they have changed, how I have changed vis-a-vis those locations, what my reactions were then and what my reactions are now, what memories will they evoke... and all of that.

Is there any film of yours that you thought about specifically while shooting this film?

I think 36 Chowringhee Lane and Paromitar Ek Din also. We went to that house and I remembered how I had found the house. Nothing I saw appealed to me and then suddenly I saw these green windows flashing in the sunlight and then I saw this house. I asked the people there whether I could take some photographs and they agreed, and then finally I asked, ‘It is such a beautiful house. I wish I could shoot one of my films here'. And they said, ‘Why don’t you do that?’ I was over the moon!

Which was your most cherished day while shooting this film?

I think the day when we went to visit the building where I shot 36 Chowringhee Lane.

You speak totally unfiltered about your stance in life on so many things...

When I am asked a question, I try to answer as truthfully as I can.

Did you feel like involving yourself in the editing process at any point?

No, I completely left it to the director. I wouldn’t like it if someone came and said that I would like to edit your film for you. I have to respect that someone else is making a film on me. It is not me making a film on me. It is likely to be different. It is not about who is better or not. When I have agreed to let somebody else do it, I have to accept that that person will do it in his own way. It was all Suman’s decision.

Were there any surprises waiting for you in the film?

All these people talking about me probably. Particularly, my husband because he doesn’t say all of these things to me! (laughs) The thing he said about my introspection and the essence of the artist. He never talks to me about all this and that came as a surprise.

Is the Calcutta film audience ready to embrace documentary as a genre?

I don’t know. It is kind of halfway between a biopic and a documentary, so I don’t know whether the audience is ready for it or whether they will see it because they are curious about me.

Is there anyone from the new generation of filmmakers whose work you admire?

I am dying to see Payal Kapadia’s film. Some of the women filmmakers are really good now. Konkona is very good. Particularly, her feature and the short film that she made called The Mirror. That’s amazing. Aditya Vikram Sengupta is very good. I love his work. Every frame of his films is like a painting and that is something I like. There are many people from this generation that I like… Zoya (Akhtar) is good but she makes commercial concessions. I think it is a deliberate decision but I think Zoya has talent. And I like Alankrita’s work as well.

When will we see a film directed by you again?

I don’t know! I think my film The Rapist should be released. I think there should be a campaign demanding the release of The Rapist because nothing is happening. And I really want everyone to see The Rapist. But I do think my film should have been called The Anatomy of a Rape rather than The Rapist, perhaps. But anyway I really want people to see it. But as far as making a film is concerned, I don’t know because I am busy with many other things.

What’s that one subject that you haven’t been able to make a film on and still dream of making one?

The epics. The Mahabharata in particular. I would have loved to make a series on The Mahabharata.

Zakir Hussain, who composed music for your film Mr. and Mrs. Iyer, passed away recently. Tell us about his work process. Why did you choose to work with him?

I am an admirer. I was and still am an admirer of his work. I think it was Rahul Bose who first suggested his name. I was in a city in America and he was also in America. We met at a cafe and then he came home. I was so deeply touched by the way he took the trouble to come and meet me somewhere else. Zakir’s way of working was very different to that of mine. I do a lot of preparation. Zakir had his own preparation, too. I was asking what are you using here or this place and that place…very anxious. And he just kept saying relax, it will be fine. I was like how do I relax when I don’t know?

But when we started working in Bombay, the whole thing was very spontaneous and I realised that’s the way Zakir works. I am sure there’s some preparation but it is not put down on paper. Salim-Sulaiman was arranging for Zakir at that time. Everything happened so spontaneously. Zakir sang something and we all liked it and we thought of keeping it. Early in the morning, I once went to interview him. He had a concert and had just flown in but was full of energy. So, I asked Zakir whether he ever sleeps, and he said very little and that he practices Yoga Nidra... that’s something I wanted to do but I never got around.

You already have an admirable amount of energy…

I do have a certain amount of energy but Zakir was something else. I remember him so fondly.

Was there any challenge for you while doing the film?

Not really... because this was not the kind of documentary where you have to shoot what is happening in front of you candidly. It was more planned.