Hindi films have been Samir Chanda’s domain for the past 27 years. His directorial venture, Ek Nodir Galpo (Story of a River), starring Mithun Chakraborty and Shweta Prasad, was appreciated when it was shown across film festivals. Chanda, who glammed up the sets of films like Rang De Basanti, Guru and Krrish, wanted to make his first film in his mother tongue. But for Remo, a Malayali, or Dhabade, a Maharashtrian, there were other reasons.

While Bengali content was a common factor for both, Remo eyed the international market for his film’s distribution. His Lal Paharer Katha (Story of the Red Hills), based on Chhou dance form, starring Mithun Chakraborty premiered early this year at the Dubai International Film Festival. “Bengali films are highly esteemed. When I came across the story, I decided to make the film in Bengali,” recounts Remo. He says, “Language wasn’t a problem. That many of my unit members were Bengalis helped my cause.”

Dhabade, who’s the art director of films such as Gadar-Ek Prem Katha, Vivah, Apne and Ek Vivaah Aisa Bhi, is working on his debut venture, Dugga. He says that initially he wanted to produce the film in Rajbanshi language. “But after getting to know about the cost involved in producing the film in Bengali, I decided to go for it. To make a Hindi film, one needs a huge budget. It’s tough for technicians to get financiers when they want to turn directors.” There are other reasons. “The story is so interesting that it also tempted me to direct it,” he says.

“Till some years ago, art directors were seen as glorified carpenters in Bollywood. Though it’s changing, I wanted to prove to everyone, including myself, that I can make a film. Now that I have made one, I want to make my next in Hindi.” Ditto, Remo. However, Dhabade is so enamoured by the language that he is keen on making his next film too in Bengali. Is Bengali then a testing track for the debutant directors? They disagree. “Had I thought of making a practice film, I could have made one in Marathi. Besides, I’ve come to know that the market for film is good in West Bengal. So from the point of view of business, it’s very encouraging,” adds Dhabade.

But everything’s not positive. “There is a serious scarcity of quality equipment in the state. For a sequence of Dugga, we needed a steadycam, which, I was told, isn’t available locally. I was advised to bring it from Chennai, which meant I have to bring a caretaker and spend for his food and lodging. It shoots up the budget,” says Dhabade.