As I stepped onto the plane bound for Melbourne, a city that had always felt both distant and magical, I couldn’t help but reflect on the journey that had brought me to this moment. The anticipation of seeing The Zebras premiere at the Indian Film Festival of Melbourne (IFFM) filled me with a mix of excitement and nervous energy. This was the culmination of years of hard work, late nights, and the unwavering belief in a story that needed to be told. But it wasn’t just the film’s debut that made this trip special. It was also the opportunity to meet someone I had idolised for years, a musical genius whose work had been a constant source of inspiration for me — A.R. Rahman.

Melbourne: A Symphony of Culture and Architecture

Melbourne greeted me with its cool, crisp air, a stark contrast to the humid warmth of India. The city’s skyline, a blend of modern skyscrapers and historic buildings, stood tall against a backdrop of azure skies. The Yarra River snaked through the heart of the city, its waters reflecting the brilliance of the sun, and the gentle hum of the city’s trams created a rhythm that resonated with the artist in me.

Walking through the streets of Melbourne was like navigating a living, breathing canvas. The graffiti art that adorned the alleyways was a testament to the city’s vibrant creative spirit. Each mural told a story, much like the characters in The Zebras. There was something about Melbourne that made it the perfect backdrop for our film’s premiere. It was a city that embraced the new while respecting the old, a city that celebrated diversity in all its forms.

Federation Square, with its unconventional architecture, felt like the heart of Melbourne’s cultural pulse. The square was abuzz with life, with locals and tourists alike enjoying the open spaces, the art installations, and the cafes that lined the perimeter. It was here that I first began to feel the significance of the moment — the world premiere of The Zebras was just days away, and the excitement in the air was palpable.

The Making of The Zebras

The Zebras was born out of a deep fascination with the intersection of technology and humanity. It is a film that explores the nuances of artificial intelligence, not just as a tool but as a force that shapes the very fabric of our existence. The story revolves around three central characters, played by Sharib Hashmi, Priyanka Sarkar, and Usha Banerjee, each of whom brings a unique perspective to the narrative.

Sharib, with his intense, brooding presence, plays a man caught in the throes of an existential crisis, questioning the very nature of reality as AI encroaches on every aspect of his life. Priyanka, with her ethereal beauty and quiet strength, portrays a woman who finds herself torn between the world of the living and the digital realm. Usha Banerjee, a seasoned actress, brings gravitas to her role as a scientist who grapples with the ethical implications of her creations.

The process of bringing The Zebras to life was anything but easy. There were days when the script seemed to defy logic, when the characters refused to reveal their true selves. But through it all, the team — my co-writers, the actors, and the crew — remained steadfast in their commitment to the story. The film’s producers, whose support was unwavering from day one, played a crucial role in ensuring that the film reached this point. Without their belief in the project and their willingness to take risks, The Zebras might have remained just an idea, a fleeting thought that never saw the light of day.

Meeting A.R. Rahman

The day before the premiere, I received a call that left me momentarily speechless. It was from a member of the IFFM organising team, informing me that A.R. Rahman was going to be present at the inauguration ceremony. For a moment, I was transported back to my childhood, to the days when I would listen to his compositions on loop, marvelling at how each note seemed to transcend time and space. Rahman’s music had been the soundtrack to many of my creative endeavours, a constant companion during those long, solitary nights of writing and editing.

Meeting him in person was surreal. We met at the Palais Theatre. As I walked in, I was struck by how unassuming he was, dressed in simple, comfortable clothing, his demeanour calm and composed. His presence filled the room, not with grandiosity, but with a quiet, almost spiritual energy.

We spoke about music, of course, but also about the deeper themes that The Zebras explored. Rahman was curious about the film’s portrayal of AI and its impact on human relationships. He listened intently as I described the challenges of balancing the film’s technical aspects with its emotional core. At one point, he mentioned how he had always been fascinated by the idea of AI composing music, a thought that made me wonder what a collaboration between him and an AI might sound like.

But what struck me most about our conversation was his humility. Here was a man who had achieved so much, whose work had touched millions, and yet he spoke with the openness and curiosity of someone just starting out. It was a reminder to me that no matter how far one goes in their career, there is always something new to learn, always another level of depth to explore.

As our meeting drew to a close, Rahman sir offered me his correspondence and it meant a lot to me.

An Afternoon to Remember

The noon of the premiere was electric. The IFFM had pulled out all the stops to ensure that The Zebras had a grand unveiling. It took place at HOYTS Melbourne Central.

Watching The Zebras on the big screen was an experience like no other. Every scene, every frame, felt more alive, more vibrant than I had ever imagined. The audience was completely engrossed, their reactions — gasps, laughter, murmurs of approval — offering a glimpse into their thoughts and feelings as the story unfolded.

The film’s climax, a moment of intense emotion and revelation, left the audience in stunned silence. As the credits rolled, there was a brief pause, and then the theatre erupted in applause. It was a moment I will never forget —a moment of validation, of knowing that the story we had worked so hard to tell had resonated with the audience.

The Importance of the Producers

As the applause continued, I couldn’t help but think of the producers who had made this moment possible. In the world of filmmaking, producers often work behind the scenes, their contributions less visible but no less critical. They are the ones who believe in a project from its inception, who provide the resources, the guidance, and the support needed to bring a vision to life.

For The Zebras, the producers were more than just financiers; they were partners in the truest sense of the word. They understood the importance of the story we were trying to tell, and they trusted us, the creative team, to bring it to fruition. Their involvement went beyond the usual expectations — they were there during the writing process, offering insights and feedback; they were on set, ensuring that everything ran smoothly; and they were instrumental in navigating the challenges of post-production.

In many ways, the success of The Zebras was as much theirs as it was ours. They had taken a chance on a film that was unconventional, that pushed the boundaries of traditional storytelling, and their faith in the project had been rewarded. As I stood there, taking in the applause, I made a silent vow to always remember the importance of having producers who believe in the art of filmmaking, who are willing to take risks for the sake of a good story.

Melbourne’s Warm Embrace

In the days that followed the premiere, The Zebras continued to make waves at the festival. The film garnered praise from critics and audiences alike, with many appreciating its bold narrative and thought-provoking themes. But what touched me most was the warmth and openness of the people of Melbourne.

The city, with its blend of cultures and traditions, had embraced The Zebras in a way that was both humbling and heartwarming. Everywhere I went, people approached me to share their thoughts on the film, to discuss its themes, and to express their admiration for the cast and crew.

Coming back to Calcutta, it’s time to get back to my upcoming projects which shall be revealed soon. Besides, it will be followed by a German film Albrechts Letzter Tag that will be shot in Vienna in early 2025.