Film: Weave of Culture: A warp and weft of emotions and identity
MONITA SONI caught up with filmmaker Santosh Ram Mavuri in Atlanta and discussed his heartfelt moviemaking. Here is her review of Mavuri’s movie, Weave of Culture, along with excerpts from her interview with him.
Weave of Culture is a short film based on a personal story about weavers of handloom sarees made by a very talented but unassuming filmmaker Santhosh Ram Mavuri. The film was showcased at the Atlanta Film Festival in the fall of 2024, and it left a deep impact on me. Over the years, I’ve sourced a few exquisite handloom sarees, often with the help of my mother, sister, and a dear friend who seems to have every possible weave in her closet. My friend introduced me to the beautiful handloom silk sarees of Andhra Pradesh. Her obsession with these textiles, and her insistence that I share her hobby,have led me to collect a few beautiful sarees. We all wore sarees on special occasions, like festivals, weddings, and birthdays, and when we ran out of occasions, she created them to whet my appetite for this art form.
The film is about Vijay, a young man who, like many today, is caught between the tug-of-war of traditional mindset and modern thinking. At the core of Weave of Culture is Vijay’sfather, a master weaver whose craft and life are slowly ripped apart by the rise of industrialized power looms. The sudden disinterest in hand-woven sarees plunders his family’s fortunes, and Vijay’s father is forced to commit suicidein front of his family. This haunting memory of this tragedy compels Vijay to turn away fromthe hardships of weaving by pursuing a lucrative job with a tech company. He wants to move to the city, taking his widowed mother with him. Once and for all, leaving behind the loom and heritage that shaped his family. Trying to erase the pain of his father’s death.
However, before he can leave, Priya, a young bride-to-be, comes to Vijay’s village in an attempt to replicate a rare saree weave that her maternal grandmother wore on her wedding day. This fateful moment reminded me of my own mother’s sarees and how I can never forget how wonderful it was for me to wrap myself for the very first time in a lovely turquoise blue Kashmir silk with a 10-inch border in canary yellow. The saree my dear mother wore for the first time. After knocking on many doors, Priya found Vijay and requested him to revive his father’s craftsmanship by weaving a very special saree for her wedding—a saree like her grandmother’s wedding saree—each warp and weft glowing with personal narrative and cultural heritage.
Initially, Vijay is reluctant, being unfamiliar with the meticulous work of weaving something so fine. He had almost forgotten his father's craft. But something in Priya’s request tugged at hissoul. He sourced the silk and walked back to face the loom. But the loom is not in good working condition. Vijay faces many technical challenges that tear him to pieces, but his mother and the memory of his father stand by him. Soon, another old weaver comes to his home and fixes the loom. It is as though the entire village and generations of weavers lend him support. Vijay eventually takes on the challenge. There is an emotional song in the film that plays as Vijay weaves, he is transported to his childhood. Before he knows it his father weaves the saree through his hands. This part of the film resonated deeply with me. A poetic rendition of love, loss, art, and family ties woven together into a gorgeous one-of-a-kind saree. The lyrics woven into the fabric lay bare the social injustice faced by traditional artisans. It serves as a poignant reminder of the fragile existence of weavers, whose livelihoods are threatened by cheaper, modern alternatives often not even made in India.
After watching the film, I went home and opened my closet of sarees. The sarees gave me a warm hug. Andhra Pradesh for centuries. As the state is home to some of India’s finest silk and cotton sarees. Each region’s distinct style and weaving techniques, like Pochampalli, Venkatagiri, Narayanpet, and Dharmavaram, literally produce woven masterpieces.
The film, Weave of Culture, increased my penchant for handcrafted fabrics. Like many, I had stopped buying sarees during the pandemic, opting instead to gift my collection to friends who would wear them more frequently. But this film stirred something profound in me. It reminded me of the responsibility we all share in sustaining these cultural treasures. An encounter with the film’s director, Santhosh Ram Mavuri, at the Atlanta Indian Film Festival further solidified my resolve. Mavuri wore a tunic adorned with his grandmother’s saree border—a small but powerful gesture that emphasized the enduring legacy of these textiles. It inspired me to make a conscious effort to support artisans, especially for special occasions, ensuring that their work and legacy continue to thrive. I made a promise to buy only hand-woven sarees from a weaverfor my daughter's wedding. They are my favorite. I love the mesmerizing geometric, ikat patterns in vibrant ruby reds, emerald greens, and sapphire blues. I want my friends who introduced me to sarees to shimmer like peacocks in their Pochampalis.
Weave of Culture is a must-watch film for all generations. At just 19 minutes, it leaves a lasting impact akin to a powerful TED talk! Mavuri’s tale is both a tribute and a call to action, urging audiences to recognize the invaluable art forms at risk of extinction. Mavuri urges us to honor the artisans who dedicate their lives to preserving these handsome handlooms. Weave of Culture is a timely reminder of why we must strive to keep these special art forms alive and flourishing.
What inspired you to create this story?
Creating Weave of Culture has been a dream I've carried for five years. It all started with a simple family trip to Kanchi, where I went saree shopping with my cousins, who are true saree enthusiasts. They wanted to know if the art of weaving would survive for future generations. But the weavers’ response was blunt, they wanted their sons to become software engineers, to secure a better lifestyle, far from the handloom legacy. I understood their point, but it struck a chord deep within me.
Later, here in LA, while shopping in Sherman Oaks, I saw Ikat Block Prints selling for a premium price, a stark contrast to what I’d seen back home. That moment sparked an idea: what if a weaver became an entrepreneur, sharing their craft as a global brand, preserving their legacy while also shaping their future? And that’s where the story of Weave of Culture was born as a vision to bridge heritage with ambition, to honor artistry and pave new paths for those who carry it.
How did your personal experiences shape the narrative and characters in your film?
The characters I create come from the people I’ve known or observed closely in my life. Writing Vijay, the lead, was especially personal as he’s a mother’s boy who grew up without the influence of a father. For me, that struck a chord because I had my own journey of not seeing eye-to-eye with my father’s ideas, only to understand his motives and struggles as I grew older.
Though the film speaks to handloom revival and the importance of passing down heritage, at its core, it’s about a son’s journey to understand his father’s passion and sacrifices. Vijay begins by rejecting his father’s dedication, only to embrace it when he finally sees the love and purpose behind it. It’s that shift from distance to understanding that makes this story a deeply personal reflection for me.
Were there any specific films or filmmakers who influenced your vision for this project?
Once I have a solid idea for a project, I dive into research to see if any films explore a similar theme. When I came across Mallesham, a fictional biopic that resonated deeply with Telugu audiences, it was a revelation. Watching it in theaters, I realized that I can tell a story like this, in my own way. Even though Weave of Culture has its own unique characters and storyline, Mallesham inspired me to pursue this journey.
A fun connection: Jayasri, the talented actress who plays Priya's mother in the movie, is actually the sister of Mallesham’s director!
How do you hope audiences will connect with or respond to your film?
I aim for the audience to grasp the lives of weavers, emphasizing the significance of passing on this craft to the next generation. While some may view it as time consuming, witnessing parents dedicated to it since
childhood demonstrates its accessibility to learn. I see every artist as an entrepreneur, and I hope the newer generation, with their unique perspective and adaptability, can revive this craft in the contemporary context.
What were the biggest challenges you faced during the filmmaking process, from pre-production to release?
Pre-production was a challenge like no other. Managing everything from LA coordinating with people in India, navigating time zones and cultural differences added layers I hadn’t anticipated. Most of the team were people I hadn’t even met until I flew to India for production.
Since this project was also my thesis at the New York Film Academy, I had to balance creative vision with the guidelines set by the school. It was intense, but every guideline pushed me to grow as both a producer and director. I came to see that pressure as a pleasure, a chance to learn in ways that will shape my future work.
Finding the right crew was no easy feat. Daniel Sanchez Lopez was a godsend in helping me find my camera crew, and my cousin Sivakanth located a line producer. My friend Charesh, along with my cousins Raji and Manasa, were my support system, sounding boards, and a source of moral strength every step of the way. This film was a collective journey, shaped by every person who believed in it alongside me.
How did you go about casting for the main roles, especially for characters you might closely relate to?
Selecting the lead actor, Vijay, played by Eshwar, was straightforward as I had him in mind while writing, as he was my childhood friend, and he's well-suited for this role. For this thesis film, I prioritized actors who understood my vision and trusted me as a director. My acting teacher, Satyanand Garu, generously took on the father's role, and a fellow student of his portrayed the female lead. Sharing character profiles and expectations with the local crew in Hyderabad during pre-production ensured asmooth casting process, and I'm pleased with how well each actor performed in their respective roles
Did you encounter any moments where you questioned your direction, and how did you overcome those doubts?
As a director, I have confidence in my skill, but one lingering insecurity was whether I could tell this story authentically. Growing up in a retail saree store and later becoming a filmmaker in LA, I felt like I’d lost touch with the village atmosphere and culture I wanted to portray. To bridge that gap, I immersed myself in research, meeting people in these communities after writing the story to ensure every detail felt real.
The weavers in the village were incredibly generous, opening up their lives to help me bring this story to life. I still vividly remember the first day of directing them, the nervousness I felt, guiding not only the actors but also the background actors, who were actual village weavers. At one point, an elderly man approached me with tears in his eyes, thanking me for making this film. He told me how real and true it felt. In that moment, I knew that all the work, the worry, and the journey had been worth it.
How did you handle balancing technical aspects like cinematography, editing, and sound with telling a deeply personal story?
I had my worries about achieving a feature-quality look, especially since this was my first time working with the crew. I knew the look and feel I wanted, so I spent hours interviewing each crew member to ensure we were all aligned. My camera team was on board from the day I arrived in LA, and we poured countless hours into pre-production. We faced plenty of challenges—finding the right locations, tackling logistical hurdles- but my team was there every step of the way. They were unafraid to tell me when something wasn’t working, and that honesty made all the difference. Their commitment helped transform my vision into something real, something I’m proud of.
Who were your biggest supporters during the process, and how did their encouragement impact you?
From the very first moment I shared my dream of making a film about weavers, my cousin Balaji and my father stood firmly by my side, offering unwavering support. They believed in this story wholeheartedly. My cousins and my friend Charesh played crucial roles in shaping the narrative, ensuring that every element felt genuine and rooted in reality. Throughout the production, my crew was dedicated to capturing the film’s cinematic essence, while the weavers themselves generously opened their lives to me, ensuring that the portrayal was as authentic as possible. This film is truly a collective effort, shaped by the love and support of everyone who believed in my vision.
What was it like working with your crew and actors? Did they bring new insights to the story or characters?
Vijay is brought to life by my childhood friend Tryambakeswar, with whom I share countless fond memories of watching films and dreaming about cinema. Our deep conversations and character breakdowns made it clear he was the perfect fit for this role.He truly infused the character with life and authenticity.
Vijay’s father is portrayed by my acting teacher, Satyanand Garu, who has trained many superstars like Prabhas, Mahesh Babu, and Pawan Kalyan. His presence on set was powerful, adding an incredible aura to the film. Satyanand Garu’s vast knowledge and experience not only elevated the project but also motivated and guided me as a director. His support and insights were invaluable in helping us create something truly special.
How did you approach the task of managing a film set and leading your team as a first-time director?
Coming from film school in LA to work on a project like this in India stirred up a lot of insecurities in me at first. However, once I assembled my cast and crew, I felt a renewed sense of clarity about the vision I wanted to achieve. They were incredibly supportive and committed to helping me realize that vision. With their dedication and expertise, I was able to focus on the storytelling and ensure we captured the essence of the film just the way I envisioned it. Together, we created something truly special.
Now that the film is complete and reaching audiences, how has the reception matched or differed from your expectations?
The reception to Weave of Culture has been overwhelmingly positive, and I feel truly blessed to have created a film that has the power to change perspectives. My thesis screening at NYFA was a pivotal moment; professors unfamiliar with Indian culture praised the film, while my fellow filmmakers from India offered their appreciation, reaffirming my belief that I had made something meaningful.
Attending film festivals in Wyoming, Dallas, Boston, and Atlanta has been an incredible experience. Hearing the festival directors and audiences commend my work has filled me with gratitude and pride. These moments remind me of the impact storytelling can have, and I am so thankful to everyone who has supported this journey.
What’s one thing you learned about yourself through the process of making this film?
Weave of Culture has profoundly shaped me as a person, guiding me from the initial writing phase to experiencing the thrill of film festivals and winning awards. This story isn’t just about the weavers; it’s a heartfelt tribute to my father and my family for their hard work and dedication. It reflects my desire to honor their legacy and find ways to carry it forward for future generations. Through this film, I hope to celebrate their craft and the rich culture it represents, ensuring that their stories and values continue to resonate and inspire.
Are there any moments or scenes in the film that hold special meaning for you, or that you’re particularly proud of?
I vividly remember the first day of shooting, standing in the village directing background actors who were actual weavers, most of whom had never acted or been on a film set before. Amid the excitement and nerves, an older man approached me and shared a story about a scene that had occurred in their village, mirroring what we were about to shoot. His words resonated deeply and gave me an incredible boost of confidence in the authenticity of the story I was telling. It was a powerful reminder that this film was not just a project for me, but a reflection of their lives and experiences, making it all the more meaningful.
What feedback have you received from viewers, and has it changed your perspective on the film or its themes?
Atlanta was a truly beautiful experience. The audiences there brought such vivid perspectives and emotions to the screening. Watching them resonate with the characters and seeing their tears at the end of the film was incredibly moving. Hearing them share how *Weave of Culture* impacted their lives and touched their hearts left me overwhelmed with gratitude. It’s moments like these that remind me why I made this film in the first place: to connect with people on a deeper level and tell a story that matters. Knowing that my story has made a difference brings me immense joy.
How has this experience influenced your vision for future projects?
Weave of Culture has been a transformative journey for me as a writer, allowing me to reflect on the moments in my life that have truly impacted me. It encouraged me to bring my voice and experiences into cinema, creating a deeper connection to the narrative. I cherish every moment spent writing this film, diving into the characters and their stories, and exploring what makes them tick. This process has not only helped me grow as a storyteller but has also allowed me to honor the experiences that have shaped who I am. Each character is a part of that journey, and I’m grateful for the opportunity to bring them to life.
What stories are you most interested in exploring as you continue your filmmaking journey?
At this moment, I don’t confine myself to a specific genre. Growing up, I didn’t watch films in theaters with a particular genre in mind; I simply loved the experience of cinema itself. Now, I’m exploring my directorial capabilities, seeking to understand what genres resonate with me. At the same time, I’m diving into new forms of storytelling and cinema. This exploration excites me, as it allows me to push boundaries and discover fresh ways to connect with audiences through my work.
Do you have any upcoming projects or ideas you’re excited to work on?
Currently, I’m working on a few exciting projects. Bloody Mary is a horror thriller that delves into the theme of adultery, allowing me to explore darker narratives. Then there’s Don’t Do It, a 3-minute micro short shot on 35mm that’s making its way through the festival circuit. I’m also developing 4Chella, a proof of concept short primarily filmed at the Coachella Music Festival, which is shaping up nicely. Additionally, I’m working on Weave of Culture Feature and a Hollywood Rom Com Love story. Each of these projects comes from deep personal experiences and observations, allowing me to explore diverse narratives while remaining true to my voice as a storyteller. Even though the genres differ, they all reflect my journey and the emotions that resonate with me.
Finally, what advice would you give to other aspiring filmmakers who are working on their debut films?
Filmmaking has become incredibly accessible today; all you need to do is open your phone and start filming. That’s exactly how 4Chella came to life. My friends and I were heading to Coachella and decided to make a film on a whim. It was a spontaneous decision that turned into an exciting project.
I believe it’s essential to study the craft, understand the rules, and then start breaking them. Cinema is an evolving art form, and with each new generation, we have the potential to transform storytelling in ways we can’t even imagine. Who knows? We might just be the next Picassos or Spielbergs, pushing boundaries and creating something truly unique.
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