K P Suveeran, the man who is known for creating magic on stage won the hearts of movie lovers with his debut movie 'Byari'.

“I have been dreaming of making a film for a long time. The idea of directing a movie in a language which is spoken by a few people in our country was never in my mind. I could not find any producers to make a film in my mother-toungue. When the producers of ‘Byari’ approached me I decided to go for it. I never thought my first movie would fetch me the Golden Lotus Award,” smiled director Suveeran.

His movie ‘Byari’ made in the Byari language spoken by just a few lakhs of People belonging to the Byari Muslim community of South Kannada region bagged the National Award for the Best Film this year.

“For me ‘Byari’ expresses the speechless emotions of  women in India. The movie explores different emotional levels of the so called 'Indian Woman'. Audience may find an indepth meaning in the movie. It questions the selfish patriarchal customs.  I had faced a lot of financial difficulty while making it so I shot it in  16mm format. If there were no financial constraints I could have made'Byari' more beautifully.”

The dedicated director had done his intense research on the ethnic community before starting the pre-production work of the movie. “I travelled in and around Mangalore before starting the project. Once I realised that even though the people over there have a distinct cultural identity they are chained in the clutches of conservative faiths and beliefs and ‘Naidra’, the lead in the movie fights against the customs in her community.”

Suveeran believes that his honesty and dedication to his work was what won him the award. 

“I am glad that I won this award. Now I will easily get producers for my new projects in Malayalam. I do not have to run away to the neighbouring state.”

The director says that he has used a lot of theatrical elements in the film as his first love has always been Theatre.

“Theatre is always my first love. There is only a short distance between film and theatre. But I feel that a drama is good when it is performed. It dies along with the director. But mechanical reproduction is possible for films. It would remain long after the maker is gone.”