Bhutan’s Tallinn, Goa Title ‘I, The Song’ Sells to Fidalgo for Norway (EXCLUSIVE)

Bhutanese filmmaker Dechen Roder’s “I, The Song” has been acquired by Fidalgo Film Distribution for Norway.

The film had its world premiere at Tallinn Black Nights Film Festival, where the acquisition was made, and has its Asia premiere at the International Film Festival of India (IFFI), Goa. In the film, to save her job and reputation, a school teacher travels to the south of Bhutan in search of her doppelganger, but as she becomes entangled in her lookalike’s life, she realizes she might be the only one to solve her doppelganger’s disappearance as well as recover a stolen sacred song.

The cast includes Tandin Bidha, Jimmie Wangyal Tshering, Tshering Dorji, Sonam Lhamo and Dorji Wangdi. The film is produced by Roder for Dakinny Productions (Bhutan) and Johann Chapelan for Girelle Production (France).

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It is co-produced by Fernanda Renno, Fidalgo Films (Norway), Stefano Centini, Volos Films (Taiwan, Italy), Paolo Maria Spina, Revolver (Italy), Mikaël Barre, Actarus Productions (France), Michaël Gauthier & Mathilde Solimeo and Follow Back Films (France) and Nyema Zam, Samuh (Bhutan).

“I don’t know if its being Bhutanese, or growing up around stories of intuition and feeling, and forces of magic and surrealism, but I think that’s what guides me in my filmmaking too, and that’s what strengthens me, and the the film – the signs and good energies,” Roder said.

“Producing the film was tough, as raising the finances was really difficult and took some time. Many friends and family who read the script also would suggest – add some more mountain scenes to the film, some more “landscape” scenes, they said this is what people are now expecting in films from Bhutan. I, the Song is predominately shot in the south of Bhutan (below the mountains) in a more urban area, so it defies the common preconception of how Bhutan should “look”. But I was determined not to compromise the story and themes of the film with this, I wanted to show Bhutan as I know it, as I feel and live it, with a different “beauty” so I didn’t change the script and felt we could still find support,” Roder added.

Chapelan said: “I am very proud to bring this story to life as it deals with prominent issues in all Asia (and the world), and more largely related to the new wave of post-#MeToo awareness dealing with consent, toxic and violent masculinity and abusive and manipulative behaviors in workplaces. It is very important to raise consciousness from Asian and from non-only Western authors, artists and filmmakers. Filmmakers in Asia are more and more prone to address women’s rights issues, and we are very glad to be part of it.”

“Beyond women’s rights, the film also deals with identity issues, globalization, and the alienation in the digital age. It is a tale that resonates with unconscious issues such as the loss of identity, sacredness, uniqueness, and the blending of cultures into normative modernity. Personally when producing this film, I was largely guided by Pankaj Mishra’s thinking and analysis of modern history, nationalism and patriarchy in the “global south”. We are now on the verge of a new era of global violence, war, misogyny and nationalism everywhere in the world. I believe it is our stake and responsibility to address and open a discussion about it by making smart, sensible and engaging films such as ‘I, The Song.'”