Director’s Statment

Human consciousness and the perception of reality form the foundation of our existence, yet they remain the biggest mysteries of mankind. Ever since I realized that the universe doesn’t revolve around me, I have been fascinated by the cosmos and humanity’s place in it. This has led me down a path of constant examination in trying to decipher who/what I really am, looking primarily towards the mythology and lore of ancient scriptures and religious texts for insight. 
At the time of writing the script for Blind Faith, I had just finished reading the Shiva Puran, which is a collection of stories about Shiva (the destroyer in the holy trinity of creation, balance and destruction in Hinduism) which exists as one of the pillars of Hindu mythology, and this reading had distilled the learnings of my journey so far into a few key revelations: first, that the most sacred bond is that between lovers bound by forces that exist beyond the physical (as between Shiva and Parvati who had been bound to each other because they were manifestations of the same primordial power, i.e. Durga, even before they existed in the same physical space). And second, that stories transcend into myth only when they tear through the fabric of logic, breaking patterns of the
“normal”, veering towards miraculous believability. The stories of myth didn’t exist in fantasy worlds which are alien to the one we live in; they are experiences of normal people that defy common logic occurring in timeless civilizations that mirror our own. 
As such, I attempted to write a mythological tale guided by my Eastern sensibilities but taking place in a modern Western world. In order to weave a story around characters bound to each other in the metaphysical, I adopted the perspective of a blind painter: someone who can’t see as we do, but in turn sees what we can’t. And at its core, Blind Faith is a story of love, of someone attempting to free his one true love from a world that no one else believes exists. My third revelation from the Shiva Puran was the necessity of stimulating the reader’s imagination. In text, this is done through descriptive poetry that paints, in as much detail as possible, the vivid beauty of the people and the world that inhabit these myths. In film, we have an additional tool to stimulate the imagination: visual poetry. As such, it is Blind Faith’s cinematographer Anand M Tom who has breathed life to the film, allowing it to become a pure extension of both our subconscious selves. As it exists, Blind Faith lives outside of the hands of its creators, and I too seek to understand it on every retelling.