How Kerala director's 'Papa Buka' made it to the Oscars from Papua New Guinea

Some had gone as part of the British contingent and many taken as prisoners of war by the Japanese in Singapore and shipped to these islands, as they had refused to join the Indian National Army, choosing instead to uphold their oath to the British Indian Army. Most of them perished in obscurity.

Military historians scarcely chronicled their courage, yet their dignity in defeat and perseverance in battle remain undeniable.

Telling untold stories

It is this forgotten history that forms the heart of Papa Buka, the latest film by Kerala’s acclaimed director Dr Biju, now making history as Papua New Guinea’s first-ever official entry to the Academy Awards.

The film follows two Indian historians, played by Ritabhari Chakraborty and Prakash Bare, who travel across Papua New Guinea in search of these hidden war narratives. Their journey leads them to Papa Buka, a venerable 85-year-old tribal leader portrayed by Sine Boboro, himself a community elder from PNG.

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Through his voice and memory, the film digs up long-buried truths of sacrifice, survival, and the cultural intersections left behind by war.

“It’s a fictional narrative, with an introductory segment that may carry a docu-like character. The attempt is to bring an untold story into the spotlight, but set in a contemporary frame. The events unfold in 2016, with only references to the World War II period, rather than recreating it as a full-fledged period drama,” Dr Biju told The Federal.

Unique co-production venture

The supporting cast features John Sike, Barbara Anatu, Jacob Oburi, Sandra Dauma, and Max Maso PPC, while the original score has been composed by three-time Grammy winner Ricky Kej.

The film, co-written with Daniel Jonerdhagtt and shot by cinematographer Yedhu Radhakrishnan, weaves together Tok Pisin, Hindi, Bengali, and English, underlining its layered multiculturalism.

The Papua New Guinea–India co-production is backed by Noelene Taula Wunum (NAFA Productions), Akshaykumar Parija (Akshay Parija Productions), Pa Ranjith (Neelam Productions), and Prakash Bare (Silicon Media). Its official Oscar submission carries additional symbolic resonance, coinciding with the 50th anniversary of Papua New Guinea’s independence.

“Some years ago, I had the opportunity to take a session in a film orientation course conducted by NAFA, and that eventually led to this co-produced venture. Naturally, a co-production involving the embassies of two countries comes with certain content restrictions. I had explored a few other plots, but finally zeroed in on this one after stumbling upon this untold history while reading about the war in this region.”

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“This production was quite unique, as it brought together crew from both countries. The Indian producers managed the Indian crew and handled post-production in India, while the Papua New Guinea team oversaw the shoot there. What made it especially interesting was the involvement of film students, as part of a government-backed project. Remarkably, more than 60 per cent of these young filmmakers were women and from indigenous communities—something we can hardly even imagine happening in India,” pointed out Biju.

Socially committed cinema

For Dr Biju, this recognition marks a milestone in a career defined by socially committed cinema.

Born Bijukumar Damodaran in Kudassanad near Adoor, Kerala, he balances his work as homoeopathic district medical officer with filmmaking. Over nearly two decades, he has crafted 15 features—three of which have won National Film Awards—while securing a strong international presence at Cannes, Shanghai, Montreal, Telluride, and Cairo.

His films, from Veettilekkulla Vazhi (2010) to Perariyathavar (2013) and Valiya Chirakulla Pakshikal (2016), have consistently interrogated the intersections of society, environment, and human struggle.

At the recently concluded Kerala Film Policy Conclave, he emerged as a prominent critic of legendary filmmaker Adoor Gopalakrishnan’s controversial remarks. Adoor had suggested that first-time women and scheduled caste/scheduled tribe filmmakers should undergo a three-month mandatory training before being eligible for state funding.

The comments triggered a storm, drawing accusations of caste and gender bias.

Against discrimination

Dr Biju, who has long championed democratisation of film production, sharply rebutted the idea. He pointed out that countless filmmakers in India have made their mark without any formal training, and argued that applying such a stipulation only to women and marginalised communities was discriminatory.

“The idea that they alone must undergo training before being considered eligible arises from looking at them through a different kind of lens, that sees them as separate or lacking,” he said, underscoring that the Kerala State Film Development Corporation already ensures proper scrutiny, mentorship, and transparency in selecting projects.

Beyond boundaries

In this context, the international recognition for Papa Buka comes at a telling moment. By foregrounding the forgotten stories of Indian soldiers in Papua New Guinea and highlighting indigenous experiences through a collaborative lens, the film extends Dr Biju’s broader commitment to inclusive storytelling.

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It demonstrates how cinema can serve both as historical recovery and cultural bridge-building.

As Papua New Guinea marks half a century of independence, its first Oscar submission is not just a milestone for the nation’s emerging film industry but also a testament to transnational storytelling led by a Kerala filmmaker whose work has persistently questioned boundaries.