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Balekempa is Ere Gowda’s first feature as a director, following his work as a screenwriter, casting director and line producer on Thithi. The Kannada drama premiered at the 2018 International Film Festival Rotterdam, where it won the FIPRESCI Award. Although it was selected for Mumbai Film Festival’s India Gold section that year, its producers later withdrew it; the announced MAMI screening should not be described as having taken place.
What is Balekempa about?
The 103-minute Kannada fiction feature follows Kempanna, a village bangle seller, and his wife, who are unable to conceive a child. Gossip and scrutiny from their community weigh on the couple, while family relationships and secrets deepen the story. The 2018 MAMI catalogue identifies the film as an Indian feature written and directed by Ere Gowda and produced by Vivek Gomber. MAMI’s 2018 catalogue presents it as a morality tale about incomplete lives and family secrets.
The story is set in a village in Karnataka’s Mandya district. Scroll’s 2018 preview described Balekempa as fictional, unlike Thithi; its rural setting and use of local performers do not make it a documentary or a true-story account. Gowda told Scroll he wanted the film to be legible to viewers from outside the community while remaining comfortable for local audiences: “I was exploring how to tell the story as both an outsider and an insider, and I wanted the outsider to get the story, but I also wanted an insider to watch the film and be comfortable.”
How Balekempa grew out of Thithi
Gowda’s earlier work on Raam Reddy’s Thithi (2015) spanned screenwriting, casting and line production, according to the MAMI catalogue. In a 2018 interview, he said the experience helped prepare him to direct his own project and gave him the confidence to do so. Balekempa marks a shift from those behind-the-scenes roles to writing and directing his own feature.
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Gowda told Scroll he spent three months writing the screenplay and shot the film over 40 days. He said Bhagyashree was the only experienced actor in the cast, with the other performers making their first film appearances. “Most of the times, I was screaming, don’t act, don’t act,” he recalled of working with them.
Scroll reported that the film was shot in Dodda Byadarahalli, in Mandya district. According to that 2018 preview, Gowda used his wife’s family home for the bangle seller’s house and cast his maternal grandmother as the ailing mother. The same account identifies Jnanesh, who plays Kempanna, as a local resident. These are details reported at the time, not independent production observations.
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Where the film premiered—and what happened at MAMI
The festival chronology matters because the Mumbai screening announced in 2018 did not go ahead as planned.
- IFFR 2018: The International Film Festival Rotterdam listed Balekempa in its Bright Future section as a 103-minute Kannada-language world premiere. The festival record lists it as the FIPRESCI Award winner. IFFR’s official film record documents the premiere and award.
- Mumbai Film Festival 2018: MAMI’s catalogue selected the film for India Gold as an India premiere, and Scroll’s October 6, 2018 preview announced a festival screening scheduled during the October 25–November 1 event.
- Withdrawal: The Times of India reported in 2018 that the producers withdrew the film from MAMI after harassment allegations surfaced against Gowda. That report establishes the withdrawal; the reviewed records do not establish that a MAMI screening occurred. The allegations should be attributed to the contemporaneous reporting, not presented as adjudicated findings.
Gowda’s approach to perspective and performance
Gowda described a concern with how a filmmaker can reflect a place and its people: “How can I be a mirror in my expression – this has always been on my mind.” The remark, published in Scroll’s 2018 interview and preview, connects to his stated effort to balance an insider’s familiarity with an outsider’s access to the story.
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The film’s local setting and mostly first-time cast are part of that context, rather than evidence that it is nonfiction. Gowda’s comments also suggest a performance approach aimed at avoiding an overly performed quality; as he put it, he often urged the cast not to act.
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