Neelu Bhuman was born in the South Indian small town of Madanapalle. As an independent artist filmmaker, they explore social and political themes as they play out in close relations. Their films blend viewpoints ranging from race, gender, sexuality, culture, class, and romance. Bhuman identifies as non-binary.
“Transfinite” will premiere June 1 at the 2019 Inside Out Toronto LGBT Film Festival.
W&H: Describe the film for us in your own words.
NB: Most of us have been tempted to give up in the face of powerlessness and frustration with the unfairness all around, but sometimes we find a way to use our rage, resentment, and frustrations to grow a beautiful garden.
In “Transfinite,” the protagonists, like smooth warriors, choose to find that inner power and use it to transform undesirable situations into desirable ones in a snap. “Transfinite” is a somewhat dark and funny, visually and musically expressive sci-fi made up of seven standalone stories that are connected by the common thread of power — power to protect, power to love, power to teach, fight, and thrive.
All seven short films that comprise “Transfinite” — “Najma,” “Asura,” “Shayla,” “Bahari,” “Nova,” “Maya,” and “Viva” — are written by seven trans and gender non-conforming writers of color with varied backgrounds. They reflect a singular vision, and the cohesive sensibility is designed using exquisite poetry, subtle VFX, sublime animation, and enveloping music.
“Najma” sees its titular character rattling off shame before it destroys all relationships.
In “Asura,” a martial arts grandma teaches her granddaughter that the grace of wind is a powerful tool when faced with hard reality.
“Shayla” finds its protagonist channeling her strength from the mighty oak tree.
Neruda’s oceanic love and Bahari’s expansive poetry are a ideal match that undo all borders in “Bahari.”
Dance-loving sunshine Nova — birthed by a trans person, raised by three parents — protects herself from a bullying classmate with her BFF Omari in “Nova.”
Sexy Orchid Mango Blu expands his inner universe instantly after falling for Parrot Pink who puts duty above all in “Maya.”
“Viva” sees formidable Honey casting a celestial spell on the sleazy politician to make America’s best wishes come true.
W&H: What drew you to this story?
NB: When my six-year-old niece, Aditi Bhuman, was at a temple with her grandmother a few years ago, she asked her grandmother who one of the statues was. “That is Ardhanariswarudu, half woman-half man god,” her grandmother explained. My niece immediately responded with, “Oh that god is just like Neelu Atha.”
The seed of the idea to celebrate these everyday empowering moments rooted in this real life experience; to be seen, embraced, and celebrated as a non-binary person by my niece with nothing but pure love. And the unconditioned ease with which my little niece removed the line between god and human is another research topic in its own right.
I am also painfully aware that the majority of films centering on trans and gender non-conforming people of color focus on trauma, death, or ridicule and I wanted to make work that centers the strength, resilience, beauty, joy, intelligence, difference, and love that trans* people of color bring to this world.
With [world leaders] like Donald Trump, Jair Bolsonaro, and Narendra Modi, and the fast-paced rise of bigotry around the world, I wanted “Transfinite” to serve as an urgent balm, a platform for resistance, connection, healing, and empowerment.
I chose the omnibus format because it beautifully reflects the complex and prismatic nature of our multicultural communities. Not only is the writing, cast, and crew originating from this varied experience but also the poetic and musical aesthetics of the film, such as the Navajo and Swahili poetry by Laura Tohe, Navajo Nation’s poet laureate and author; Sharon Musyoka, a London-based Kenyan musician; music by brilliant women and transfemme artists, like “Neda” by Snipah Wolf, “Azaadi Is Freedom Is Fate” by Kohinoorgasm, “Karma” by Jade Elektra, “Mixes” by Jasmine Infiniti, “¿Cómo Hacer?” by Diana Gameros, and “Beija Flor” by Jessica Lauren; and the beautiful animations were meticulously brought to life by LA-based queer woman of color filmmaker Pamela Chavez.
W&H: What do you want people to think about when they are leaving the theater?
NB: This depends very much on who the viewer is. I want trans and gender non-conforming people of color to feel seen and celebrated in a new way. I want everyone else to accept gender in all its magnificent melange, do their part in stopping violence against trans and gender non-conforming people of color, question their own prejudices, and actively support our communities.
I want funders to be blown away by the imaginative, playful, and fresh approach to queer filmmaking and the audacity of team building to shift their attitudes and consider funding films that center authentic voices of trans and gender non-conforming people of color.
W&H: What was the biggest challenge in making the film?
NB: Finding the people who were loyal to the project was perhaps one of the biggest challenges followed by my own growth in how best to tell the stories of this ambitious film with little budget while paying everyone. The majority of the crew and cast came via organic community outreach; having known D’Lo, a queer/transgender Tamil-Sri Lankan-American actor/writer/comedian, was my early boon. He had faith in me and “Transfinite” and having him on board as the writer and his help in finding two other writers very quickly set my rocket on fire.
Casting was another mountain we had to climb and my producer, Stefano Gonzalez, lead me to formidable Tina D’Elia, though finding non-binary actors was the biggest challenge, Tina’s coaching helped get us ready for action on set.
The most difficult episode was at the beginning of post-production, when a musician disappeared with 50 percent of the retainer fee, which was the impetus for me to shift remaining post-production to India.
Though unplanned, I am deeply enriched by the experience of working with a small team in India to complete the pieces of Music, VFX, Sound Design, and final finishing of the film.
For a micro-budget indie film project that spanned about two years in the making, loyalty to cause and the project is the best thing an immigrant filmmaker who is not rooted in any particular community can desire from the critical crew, I am forever grateful for my producers, Stefano Gonzalez and Anten Edilbert; my casting director, Tina D’Elia; my director of photography, Aja Pop; my brilliant editors, Mariko Montpetit and Donya Maguire; music magicians Tayylor Made and Paul Jacob; my wonderful EP, Marc Smolowitz; and all the writers and crew for not only trusting the path from script to screen but also showing up when necessary with heartfelt enthusiasm.
W&H: How did you get your film funded? Share some insights into how you got the film made.
NB: I have self-funded the film. I am extremely fortunate and deeply grateful that many of my collaborators worked on “Transfinite” for a heavily discounted fee.
I have applied for a handful of grants during post-production, and only one of them was successful — thank you to Trans Justice Funding Project.
My hope is to leverage the visibility from “Transfinite” to better position myself to acquire funding for future projects.
W&H: What inspired you to become a filmmaker?
NB: The dearth of empowering images that reflect the experiences of trans and gender non-conforming people of color was the fuel for my growth as a filmmaker.
The touching documentary films “Summer In My Veins” by the late Nishit “Nish” Saran, and “Sum Total” by Sonali Gulati were my springboard inspiration to exploring film as a medium of expression and textured art making.
W&H: What’s the best and worst advice you’ve received?
NB: The best advice came from my mother in Telugu, and goes like this, “kashtanga unte ishtanga cheyyi, anni baguntayi,” which means “when it’s hard, do it with love, all will be good.”
The worst advice was being nonchalantly dissuaded from exploring South India as an option for post-production.
My general advice for any non-cis-gender-white-male director who wishes to create work that challenges the status quo is to dream, work hard, hustle, and leap and have faith that the net will appear.
Surround yourself with people who love you unconditionally and give you strength for the daily struggle. Your presence is needed urgently at the leadership table. Use your agency to ensure to make space for people of color, women, trans, and gender non-conforming individuals.
W&H: Name your favorite woman-directed film and why.
NB: My latest favorite is Wanuri Kahiu’s “Rafiki,” because of her courage to make a gorgeous Black lesbian film with characters that encompass the complexity of attitudes around homosexuality within the Kenyan psyche, during a time when homosexuality is illegal.
W&H: It’s been over a year since the reckoning in Hollywood and the global film industry began. What differences have you noticed since the #MeToo and #TimesUp movements launched?
NB: Halle Berry kissing Lena Waithe is on repeat; Asia’s largest contemporary art festival, Kochi-Muziris Biennale, had their first female curator, Anita Dube. Ava DuVernay, Dee Rees, Mindy Kaling, Wanuri Kahiu, and more unstoppable and inspiring voices blossomed in the recent years.
While there is definitely an increase in the female voices, the reality is that the sun has just begun to rise and systemic, sustainable cultural changes take time. I am rooting for the momentum to continue.
