Agam Darshi is an actress, writer, director, and award-winning actor. She was born in England, and grew up all over Canada. She currently lives in Los Angeles, California. She recently wrapped on Ava DuVernay’s series “DMZ” for HBO Max. She had a lead role in Deepa Mehta’s “Funny Boy,” for which she was nominated for Canadian Screen Award in 2021. “Donkeyhead,” which she penned and stars in, marks her directorial debut.
“Donkeyhead” launches on Netflix in the United States, United Kingdom, and Australia January 21. It is available in select theaters in Canada on March 11.
W&H: Describe the film for us in your own words.
AD: I like to call “Donkeyhead” a “coming-of-age story a few decades late.” It’s about a woman named Mona who is nearing 40, and has been caring for her ailing father for the last seven years. When his health takes a turn for the worst, her three successful siblings come home to take care of the “situation.”
It’s about family, forgiveness, and moving on with life.
W&H: What drew you to this story?
AD: Family dramas are my favorite. I love stories about coming-of age. And I knew I wanted something like that to be centered on a South Asian family.
The details of this story come from my own life and the lives of those around me. My father was diagnosed with cancer in 2013. I lived with him for one year. My mother cared for him tirelessly and I was there to witness it.
Cancer is a terrible disease. Many people have had to deal with it in some way. It was such an intense time in my life and my family’s life that I needed to process the experience through my writing.
W&H: What do you want people to think about after they watch the film?
AD: I want them all to understand South Asian culture better and to see that we are all one family.
Although the Sikh Punjabi culture is well-known in America, it remains a mystery in many ways. Although we see men in turbans, many of us feel disconnected to their communities and their culture. But, hopefully anyone who watches this film will be able to see themselves in this family, and come away feeling connected. I think that’s the biggest ask for any filmmaker: that your audience feels a little more connected to your world and the people you are putting a lens on.
W&H: What was the biggest challenge in making the film?
AD: We shot during COVID-19. It was hard and scary.
In January 2019, it was -40°F. One night, the bike I was riding in the scene froze and we couldn’t use it. Another time, our doll fell apart. It’s harsh conditions, but it’s an environment so many new immigrants move to, so it felt appropriate to film there.
W&H: How did you get your film funded? Let us know how you got the film produced.
AD: It’s a Canadian film that received federal and provincial grants. It’s a long process and a competitive one, but there was a lot of love for the script, and people wanted to make it. Telefilm funding, Canada Media Fund and Sasktel Max Equity were all available to us. We also received federal tax credits and BC funding. But it still wasn’t enough.
Kelly Balon, Anand Raamaya, my producers, and I put our salaries back into making the film. Then, after it was completed, we sought private investors to help us close our funding gap.
W&H: What inspired you to become a filmmaker?
AD: I’ve always loved stories. Growing up, I was passionate about theater and writing plays. My family and friends were forced to make movies and perform at social gatherings by me.
As I grew older and more I acted, I knew that I would tell my own stories one day. It’s a need, something that I feel so passionate about. I feel compelled to speak for the underrepresented in my films and to create a space for them to voice their opinions.
W&H: What’s the best and worst advice you’ve received?
AD: Best advice: My father always encouraged me to keep writing. Although he was an engineer, my dad never encouraged me to do anything practical in my life. He always told me that if I wanted to act, I should write and create work.
Worst advice? To change my ethnicity to tell people that I am half-white, which is not what I did.
W&H: What advice do you have for other women directors?
AD: I would encourage them to write. To create. To take big steps. To place their trust in themselves.
Practically, I would also advise them to direct for their money. Look at Latin American and European films. They tell stories in a different way, but are just as impactful. I think it’s really important to see what kind of budget you have and find smart ways to tell the story without trying to make the next Hollywood blockbuster because we don’t all have 60 days and $50 million to make a film. You can still make something beautiful from what you have by using your imagination and effectiveness.
W&H: Name your favorite woman-directed film and why.
AD: That’s so tough. I have so many. I loved “The Farewell” by Lulu Wang and I visited that film many times when I was making “Donkeyhead.” It deals with similar themes, but Lulu is so smart in the way she tells a story about a big family. Her beautiful compositions and set design, as well as the focussed and intentional close-ups were inspiring.
I also love the 1994 version of “Little Women” directed by Gillian Anderson and adapted by Robin Swicord, two female storytellers. The book was a great read and the film adaptation was a wonderful and honest adaptation. I thought the women were strong, vulnerable and could only be told by female storytellers.
W&H: How are you adjusting to life during the COVID-19 pandemic? Is creativity something you do?
AD: Yes, it is. It’s hard in many ways, as we know, but I’m still making films, still acting, still traveling for work and sometimes for pleasure without risking my health or the health of those around me.
To be completely honest, I also love the peace that the pandemic brought. I like that less people are driving to work, and that I don’t have to go out as much to meet people. Sitting at home and answering these questions with a cup o’ tea is the new meeting place at Melrose coffee shop to have a chat in person. I’m kind of OK with that.
W&H: The film industry has a long history of underrepresenting people of color on screen and behind the scenes and reinforcing — and creating — negative stereotypes. What are your suggestions for making it more inclusive?
AD: This is exactly what you are doing right now. BIPOC storytellers and filmmakers have the opportunity to be heard and seen. BIPOC storytellers can make art. To encourage audiences to be politically conscious and deliberate in their choices of movies. These days I want to read books, watch movies, and support art that is created by or focused on people of color, not just because I crave their perspectives, but because it’s a political act, and if it resonates with me, I will tell five friends and maybe they will follow suit. The individual is the most powerful thing.
Source: Women And Hollywood