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It’s 2021 and billionaires like Bezos and Musk are busy competing in a meaningless space race instead of tending to the single-most important problem of the century – climate change. The climate anxiety among millennials and Gen-z is real especially since the two generational groups have the most at stake and would face the brunt of a world forever changed by global warming.
In this context its comes as no surprise that many modern-day filmmakers are choosing to talk about the post-apocalyptic world. The recent among them is 24-year-old post-futurist, multi-disciplinary filmmaker and composer Niranjan Raghu who is exploring the cosmic horror of living in a neo-capitalist world through surreal, symbolic cinema in his latest – The Silence of Day.
The Silence of Day is a fictional documentary of the key political and ideological changes that push Earth’s sustainability over the edge. Policy-making rooted in religion and profit, greed, and sociopathic cruelty by the grossly privileged are all symbolized by a single man-made artifact corrupting the habits of life.
The chain reaction of global climate events that follow this corruption leads to the Earth being too toxic for us to inhabit, forcing a string of exoduses into uncertain Space, in every direction that is remotely possible. A kite-string exodus.
According to the filmmaker, “The Silence of Day is, in itself, a symbol of extant optimism about our Earth. As a species, we have primarily moved towards outer space with a colonial outlook, even though we regard it with a curious outlook. We offer one view among many others: optimism about the Earth does not counter optimism about Space.”
“An equitable future is always in the cards, and every move we make to improve our impact on Earth’s climate is a move for an equitable future. Exploring the worst come to worst outcome, The Silence of Day is possibly the worst outcome we could suffer as a species, and we hope it never comes to that.”
This film emerged as a result of a back-and-forth collaboration between Vishal J. Singh (of Serpents of Pakhangba – a theatrical avant-garde, experimental, folk, free-jazz band) and director, Niranjan Raghu. The shorter, lighter cut of the film led to Vishal scoring over it.
The score’s vastness added an additional weight and meaning to the film and thus inspired a detailed rewrite. The revised version hence became the final cut and has elements of both hope, as well as a healthy dose of paranoia.
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