• Kriti Agarwal

How I Made It: Parcel (2019)

Indrasis Acharya's Parcel (2019) is a multi-layered social story under a health system backdrop where nothing comes as explicit but a fear psychosis based on anticipation jeopardizes everything and tears apart a strong bonding of relationship.


Parcel's story revolves around a doctor couple. Nandini, the female protagonist suddenly starts receiving some unanimous mysterious parcels with some of her older and recent photographs. This process creates turbulence in their family and they go on the verge of terminating their marriage. Nandini tries to find out the root cause anticipating some blackmailing purpose in association with her past wrongdoings.


In this world of vigilance, how things change for everyone is the main crux of the film. The film kindles intrigue and thrill, with the subject being relevant in today’s scenario.



123 Mins | Bengali | Drama, Documental, Fiction, Social | 2019 | India


In its persistent mission and zeal to promote good cinema, the Indian Film Institute brings you the experience of the Director of the film - Indrasis Acharya



Why this subject matter for your film?

Under the current socio-political scenario, The Parcel depicts a picture of different classes of people under the backdrop of Indian (Bengal) health industry and their modus operandi on normal citizens. In addition to this, vigilance has become a part of our life, we all are exposed, threatened and compromised with our privacy. But the fun is where the right to information act is required it is not present because you are not in the hierarchy to be considered. When a patient dies, they hardly understand the backstory behind the case rather they are left with no option but to trust, and when trust is questioned we accept and compromise with our lives hard-earned money.


Besides the normal parcel story that would appear at the surface level in the film, it also deals with intelligence hierarchy when people of different professions exploit the grade, education, naivety of the larger population by using power, knowledge for greed. In the long run something would definitely evolve in process of evolution to make them fall in the ditch. Here in the film Parcel, two health care professionals under unavoidable circumstances are forced to exploit people but they are also not spared with the modern or postmodern civilization technologies which also appeared as threats to them. In this world of distrust, nobody is safe as far as you accept all the benefits of our modern civilization. Your own device or modern technology might appear as a curse in your life.


The film deals with an open-ended script like many things remain open or unknown similar to modern-day trends but creates a fear psychosis. We react to so many things without having any innuendo of the fact, we just react either by knowing nothing or by knowing just a part of it. Here in the film we see the reaction of the characters without much hints to us what exactly has happened or what actually happened (the way we receive things partially). As an audience we will experience the result only as that is the only thing, we get impacted. The inside story remains insignificant once it is done. The Parcel also deals with the way we are living in a stale, corrupted system of negligence and how our life has become miserable. It has tried to portray different layers in a unique storytelling type, in a form of a psychological thriller with fear psychosis.


We all are a little broken, damaged, flawed, and screwed up. That's what makes us real nowadays.


Where did you find this story for this film?

The story came to my mind when my son received a gift without any name on it on his birthday. I thought of developing a story on this. Also, Michael Haneke’s Cache has an influence but there are absolutely no similarities in the storylines except the anonymous gift part.


What were the challenges you faced in making the film?

We, the independent filmmakers always suffer for the budget. Moreover, the rules that have been set up here for shooting make our life miserable by forcing us to take a fixed number of crew members irrespective of our requirement. We have to craft, manage and design our set according to the shoestring budget that we are told to. As a director,