my world”

in one of India’s most prolific cities

Rather, the complex character of Calcutta itself unfolds through its people, its festivals and the music.

Krishna (Samrat Chakrabarti) who acts as a guide to the couple, often unexpectedly throws up very different points of view, especially about motherhood, barren women and adoption, really galvanising Fiona to think about her own life and choices. The Durga Puja – the chaotic street processions and immersion rituals, as well as the potent imagery of the goddess herself all push Fiona to question her atheism.

The high-flying lawyer, who has driven her life by her own choices suddenly finds herself losing control, and in one scene surrenders inexplicably in front of Durga. “I was lucky enough to see a Durga Puja and was interested in the devotion that goes into the making of the Durga. It was an interesting context to push the buttons and to raise the questions in her life that had remained unanswered,” says McCarthy. “For Fiona, there’s an opening; a sense of acceptance and surrender to things she was always trying to control.”

Meanwhile, it is the local music that plays a crucial part in Ben’s transformation. Ben is a onetime musician, suffering from a creative block and working as a music producer, engineering other people’s music rather than creating his own. In Calcutta he discovers local music, which revitalises his own creative spirit. Perhaps it is this portrait of Calcutta through its musical diversity – from Tagore’s melodious songs, to the powerful voices of the Bauls, and the pulsating sounds of young local bands – that really makes The Waiting City an incredible film to watch.

It is due to McCarthy’s integrity in using real locations, local music, earthy costumes and even a local crew, that gives this film the authenticity that is lacking in many other western films about India. She easily admits her dependence on the local crew, particularly. “The logistics of filming on location in

Perhaps it is this portrait of Calcutta through its musical diversity – from Tagore’s melodious songs, to the powerful voices of the Bauls, and the pulsating sounds of young local bands – that really makes The Waiting City an incredible film to watch technical crew. There were some very senior crew from India who had a lot of experience. I mean you guys (India) made close to two thousand films last year, while we (Australia) made about 40! So I knew we were in good hands,” she says.

“There is this culture of filmmaking which is really a part of India already, so everybody’s very experienced,” says Radha Mitchell. “What I was really impressed by, especially with the Indian crew, was that they could just change hats, and somebody who’s an actor could also be an AD, could also help in wardrobe, everybody could do everything.”

“I love the people, I love how interested and