by Isuri Abeykoone 

Sexual and Reproductive Health Rights (SRHR) and Cyber Gender-Based Violence (CGBV) present significant challenges within the Sri Lankan government university system. Professor Carmen S. Wickramagamage from the University of Peradeniya notes that CGBV is somewhat discussed within the system, but there has been less recognition and dialogue around the SRHR of university students. During her guest lecture, she emphasized the urgent need to pay more attention to the SRHR of female students, highlighting issues such as period poverty, menstrual stigma, safe abortion for victims of sexual violence, access to SRHR services, and comprehensive SRHR education. Professor Carmen stressed the decisive role of culture in determining women’s SRHR rights in general. She further pointed out that the current female student population in state universities comprises 65% of the total student population, with a female-to-male ratio of 6 to 1 in Arts and Law. However, she noted that university student union leadership positions are predominantly held by men. Despite the low number of male students, or perhaps because of it, female students face many forms of sexual exploitation and violence. 

Professor Carmen further highlighted the fact that efforts to promote gender equality, empower students to understand their rights, and foster a safe and inclusive campus environment are crucial to addressing SRHR and CGBV challenges in Sri Lankan government universities. 

In pursuit of these objectives, the Centre for Media and Information Literacy organized a residential training workshop on short filmmaking from July 4th to July 7th, 2024, at the Swiss Residences Hotel in Kandy, initiating a four-day journey for aspiring filmmakers. Twenty-four female undergraduates passionate about learning the art of making short films using their smartphones attended this training. The workshop aimed to immerse participants in filmmaking, covering everything from conceptualizing SRHR and CGBV story ideas to developing robust film scripts. It was uniquely themed around addressing CGBV and SRHR through mobile filmmaking, empowering participants to create impactful narratives on these critical issues. 

Conducted by lead trainer Professor Indika Ferdinando, a renowned film director and the Dean of the Faculty of Visual and Performing Arts, the workshop explored the fundamentals of cinema and the unique characteristics of short films. Engaging sessions on mobile filmmaking highlighted its advantages and limitations, demonstrating how storytelling can be powerful even with minimal resources. Brainstorming exercises encouraged creativity, allowing participants to generate and develop innovative film concepts on SRHR and CGBV. Two female trainers, Ms. Fathima Shanaz from the University of Colombo and Chathurangi Abeshika from the University of Visual and Performing Arts, served as co-trainers.

Guest speaker Professor Carmen S. Wickramagamage from the University of Peradeniya emphasized the importance of addressing SRHR for women in Sri Lanka, stating, “SRHR issues are critical, especially for undergraduates who face numerous challenges due to male students and, in some cases, staff abusing the power associated with gender and, in the case of staff, their higher position in the university hierarchy. When female graduate students face harassment and sexual abuse, it is unfortunate that they feel unsafe but are reluctant to complain. These incidents subject them to culturally charged questions regarding their attire, presence, and behavior, discouraging them from seeking justice.” Professor Carmen stressed the need for a robust system to address intimate partner violence, sexual harassment, stigma surrounding reproductive health services, and barriers to accessing confidential and affordable healthcare resources on campus. She also highlighted the sexualized nature of ragging, noting its persistence despite laws and university policies, affecting female graduates psychologically and calling for safe spaces where such issues can be openly discussed. 

Professor Indika expressed his enthusiasm for mobile filmmaking: “Filmmaking isn’t just about capturing visuals; it’s about weaving stories that resonate with the human experience. This workshop offers you a chance to find your voice and express it through the powerful medium of film. Mobile filmmaking democratizes the art form, allowing anyone with a smartphone to tell their story. This accessibility fosters creativity and innovation, providing a platform for voices that might otherwise go unheard.” 

Participants found the workshop incredibly insightful, appreciating practical advice on mobile filmmaking that enhanced their skills and empowered them to address critical issues like CGBV and SRHR through professional-quality films made with minimal resources. They particularly valued the interactive and inspiring nature of the brainstorming sessions, which spurred the rapid emergence of creative ideas. These sessions not only fostered creativity but also equipped participants with innovative approaches to shed light on and combat CGBV and promote SRHR awareness effectively within the university community. 

Divaincy Fernando, a participant from Trincomalee campus, emphasized the workshop’s importance in addressing SRHR and CGBV: “Discussing SRHR and CGBV in the university sphere is crucial, especially in today’s digital age where issues like online harassment and cyberbullying are often overlooked. This workshop empowers us to use filmmaking as a tool to raise awareness and drive change. It’s a powerful way to give voice to those affected and educate others on these critical matters within the university system.” Another attendee added, “The workshop has opened my eyes to the power of filmmaking in addressing sensitive issues like SRHR and CGBV. The sessions on mobile filmmaking have been especially valuable, showing us that we can create impactful films even with limited resources.” 

With a focus on hands-on learning, the Elevate Residential Workshop promised to be an enriching experience for all participants. Now equipped with the skills gained from the workshop, participants are prepared to direct their films and make a meaningful impact on university communities and society as a whole.

The story begins with the murder of a wealthy, elderly man on his wedding night. Inspector Jatil Yadav, played by Nawazuddin Siddiqui, is assigned to investigate. As Jatil digs deeper into the family’s secrets, he uncovers a web of deceit, betrayal, and long-standing abuse, particularly against the women in the household.

At the center of the narrative is Radha (Radhika Apte), the new bride and former mistress of the deceased. Her character embodies the profound helplessness and vulnerability that many women experience. Radha’s journey is marked by exploitation and abuse, starting with her being sold to the wealthy patriarch by two opportunistic twins. This transaction is a glaring example of women being treated as commodities, their autonomy stripped away for financial gain.

The film does not shy away from depicting the severe violations of women’s rights. The character Chunni, a young maid, further illustrates this point. She is forced into domestic labor at a young age, a common reality for many girls in impoverished communities. Chunni’s ultimate fate, sacrificing her life, underscores the tragic consequences of a patriarchal society where women’s lives are deemed expendable.

The systemic abuse extends to the younger generation as well. Vasudha, another young woman in the film, faces sexual abuse with the tacit approval of her mother. This harrowing dynamic highlights the cycle of abuse within families, driven by the desire for power and financial stability. Vasudha’s plight reflects the broader societal failure to protect vulnerable women, showing a disturbing reality where even familial bonds offer no safety.

One of the film’s most striking aspects is its portrayal of the law enforcement system. Despite the presence of the police, the needs and voices of abused women are often overlooked. Radha’s interactions with Inspector Jatil Yadav reveal her deep mistrust in the system, a sentiment born out of repeated betrayals by those in power. The film suggests that without proper analysis and understanding, women are denied fair solutions, their cases dismissed or inadequately addressed.

“Raat Akeli Hai” also critiques society’s obsession with power, property, and money, often at the expense of moral and ethical considerations. The murder plot itself is rooted in these desires, with family members willing to sacrifice their loved ones for material gain. This ruthless pursuit exacerbates the exploitation of women, reducing them to mere pawns in a larger game of wealth and influence.

Through its gripping narrative and compelling performances, “Raat Akeli Hai” serves as a powerful indictment of the patriarchal structures that continue to oppress women. The film calls for greater societal awareness and the need for strong legal and social frameworks to protect women’s rights. It emphasizes that the safety and well-being of women are crucial to the health of society as a whole.

In conclusion, “Raat Akeli Hai” is more than a mystery thriller; it is a stark reminder of the ongoing struggle for women’s rights and the pervasive nature of gender-based violence. By shedding light on these critical issues, the film contributes to the broader conversation about equality and justice, urging viewers to reflect on the changes needed to create a more equitable society.

As a commemoration of the World Environment Day falling on the 5^th of June, the Participants of the competition were encouraged to submit photos that depicted the impact of climate change, sustainable practices, and the beauty of nature. The winners were selected under the popular photography category which encouraged the audience to assess the photographs based on creativity, composition, and the ability to convey a powerful message.

The most popular prize under the School Category was awarded to Mathavarajah Nithurshan from Carmel Fathima College, Kalmunai for his stunning image of an elephant finding food in a polluted environment, symbolizing pollution and the need for renewal. Under the University Category, Chamal Chandana from the University of Sri Jayawardenepura, secured first place for his photograph on Sunset in a city.  The first runner-up, Asha Jayasri from the University of Colombo, showcased the Sri Lankan coastal areas facing rising sea levels. The second runner-up, Savindu Yasara from the University of Sri Jayawardenapura, showcased the beauty of nature integrating water, sunset and entertainment.  

CMIL’s Director, Mr. M.B.M. Fairooz, praised the participants, stating, “The ClimateClick Mobile Photography Competition has once again demonstrated the power of visual storytelling in raising awareness about climate change. These remarkable photographs remind us of the urgent need to act and inspire us to protect our planet.”

All the photographs were featured in an online gallery in CMIL Social Media pages, aiming to educate and inspire communities worldwide. The competition not only celebrated World Environment Day, but also praised the artistic talent of these young photographers reinforcing the global commitment to combating climate change through collective action and awareness.

Three years into their marriage, Badru suffers continuous abuse—from complaints about her cooking to accusations of infidelity. The abuse worsens until Badru finally decides to take a stand. The film then follows Badru and her mother (played by Shah) as they face their difficult situation and find the strength to survive in Mumbai.

With a runtime of two hours and 14 minutes, “Darlings” is well-paced and full of surprises that keep the audience interested. Reen’s story, co-written with Parveez Sheikh, brings out strong emotions like anger, helplessness, and empathy. The dialogues, written by Vijay Maurya along with Sheikh and Reen, are particularly impressive, fitting well into the dark comedy genre. The film’s subtle humor requires close attention to fully appreciate, with some lines and comic moments standing out.

However, the film does raise concerns about using domestic violence for comedy. The portrayal of a woman staying with her abusive husband, a man showing no remorse, and passive spectators can be troubling. In a time when more progressive and empowering stories are popular, “Darlings” makes us question if such a film is necessary to convey its message. The film sometimes only touches on understanding the mindset of men who normalize domestic violence, often blaming it on alcohol.

The film also includes stereotypical characters, such as a salon owner who prefers gossip over action and a trusted uncle who covers up for the family’s wrongdoings. There’s also Hamza’s boss, who makes Hamza’s life worse and likes to meddle in others’ affairs.

Despite these issues, the performances in “Darlings” are outstanding. Bhatt’s portrayal of Badru is engaging, with her quirky lines, emotional depth, and vulnerability making her character relatable. Shefali Shah, playing Badru’s mother, gives a powerful performance, providing strong support to Bhatt’s character. Varma is convincingly despicable as Hamza, and his character is realistically cruel. Roshan Mathew as Zulfi also makes an impact, although his role could have been bigger.

The dynamic between Bhatt and Shah is one of the film’s strongest points. The focus on their mother-daughter relationship, rather than just the domestic violence, adds depth to the story. However, when Hamza becomes the victim, the portrayal of violence against men is presented with a hint of irony that might seem problematic. Badru’s actions, driven by revenge, complicate the narrative and might be seen as anti-men, sparking debate among viewers.

Overall, “Darlings” is a thought-provoking film that, despite its flaws, manages to address serious issues with a mix of dark humor and emotional depth.

The Centre for Media and Information Literacy organized this discussion as part of the ELEVATE project—a short film initiative aimed at enhancing the capacity of female filmmakers to advocate for SRHR and combat CGBV within the university system in Sri Lanka. The project seeks to empower female filmmakers to produce powerful narratives on these issues and promote inclusive policies to protect female graduates, boosting their confidence to speak openly about the challenges they face.

During the discussion, academics shared their observations on several vital issues. An academic from the University of Jaffna highlighted the prevalence of SRHR and CGBV issues within the Sri Lankan university system and the urgent need to confront cultural barriers hindering progress. She mentioned that female university graduates often do not speak out due to fear of peers and potential backlash. Cultural restrictions and associated stigma further silence many girls, underscoring the need to empower them to openly discuss their lived challenges.

Moreover, it was revealed that some female graduates lack confidence in voicing their SRHR concerns due to peer pressure. An academic based in the Eastern province emphasized the importance of addressing peer pressure and creating a confidential environment where girls feel safe to express their concerns. While many girls confide in their trusted peers, some still remain silent. The discussion highlighted those creative arts, like filmmaking, could help address these social norms. Girls at all levels should be encouraged to voice their critical opinions and share their experiences with SRHR and CGBV within the university system.

The establishment of gender cells at universities was acknowledged as a bold step. These cells involve close collaboration between students and administration, strengthening mechanisms for collective good. Increasingly, university girls are lodging complaints with gender cells, although a significant number still do not recognize the importance of engaging with these cells to resolve issues.

The discussion also led to the ELEVATE Short Film Making Project, which is dedicated to advancing SRHR among participants. This project integrates filmmaking into research assignments to collect solid evidence, case studies, and data on ongoing issues, enabling filmmakers to incorporate these insights into their films. This approach was suggested by several participants to better enlighten them on SRHR and CGBV topics.

The one-hour discussion concluded with the aim of bridging gaps in understanding and implementation, ultimately fostering a more inclusive and proactive response to CGBV and SRHR in Sri Lanka’s university communities. Twelve university academics from various Sri Lankan universities attended this discussion.

During the webinar, Mrs. Maduwanthi guided participants through an exploration of various aspects of sexual and reproductive health, including understanding one’s rights, navigating relationships, and accessing resources for support and information. Moreover, the webinar provided a platform for participants to learn about the importance of consent, contraception, and safe sexual practices. Mrs. Maduwanthi facilitated conversations on gender equality, addressing power dynamics in relationships, and promoting respect and autonomy in sexual encounters. In addition to discussing individual rights and responsibilities, the webinar also addressed broader issues such as reproductive rights, access to healthcare, and the importance of comprehensive sexuality education.Through engaging discussions, participants were encouraged to reflect on societal norms and cultural attitudes surrounding sexual health and to challenge stigmas and misconceptions, while supporting them to understand a deeply discussed SRHR issue to direct their short film for the project. 
Overall, the webinar served as a catalyst for meaningful dialogue and empowerment, empowering participants to navigate complex issues surrounding sexual and reproductive health with confidence and knowledge. By providing a safe and inclusive space for discussion and learning, this webinar has made significant strides in producing better short films promoting a culture of respect, dignity, and equality in matters of sexual and reproductive health.

The narrative commences with Nimisha’s joyful presence in a dance class, juxtaposed with scenes of her preparing food at home for an impending family gathering. Following her marriage, the focus shifts to her adaptation to her husband’s household traditions, where mundane household chores transform into suffocating obligations. As Nimisha struggles to fulfill societal expectations of the ideal wife and daughter-in-law, she finds herself suffocating in a relentless cycle with no relaxation in sight.

The film consistently places female characters within the kitchen or attending to the men in the house, contrasting their toil with the men’s leisurely demeanor. The haunting beauty of the kitchen scenes serves as a stark reminder of the harsh reality of patriarchy’s enslavement of women, juxtaposed with the anticipation of delicious dishes.

Numerous kitchen scenes underscore society’s normalized perception of women’s domestic roles, while intercutting scenes between the kitchen and the bedroom further emphasize this normalization. Nimisha’s bold request for foreplay is met with ridicule from her husband, echoing broader societal attitudes towards female desire. The film bravely addresses menstruation and exposes the family’s discriminatory treatment of Nimisha during this natural phase.

Nimisha Sajayan delivers a remarkably convincing portrayal of a wife grappling with the dictates of patriarchal traditions. Her performance adds depth to the character, making her struggles relatable to audiences. “The Great Indian Kitchen” not only critiques patriarchy but also sheds light on the plight of oppressed women who rarely question entrenched traditions. Undoubtedly, it stands as a powerful cinematic commentary on patriarchy, urging viewers to engage with its vital message.

Based on the true story of Ganga Jagjivandas Kathiawadi, better known as Gangubai Kothewali, the film is adapted from the book “Mafia Queen Of Mumbai” by S. Hussain Zaidi. It piqued the audience’s interest in the intriguing narrative.

Ganga, a young woman from a wealthy family, moves to Mumbai at 16 with her husband Ramniklal, aspiring to be an actress. However, she soon discovers that she has been deceived and sold into a brothel. Despite this adversity, Ganga shows remarkable strength and resilience, refusing to be defined by societal norms.

The film sheds light on the social stigma faced by sex workers and the challenges they encounter. In a pivotal moment, Gangubai, with the help of Rahim Lal and Shaukat Abbas, stands up against her tormentor, marking a turning point for the women of Kamathipura (a village of sex-workers).

Gangubai’s determination leads her to New Delhi to meet Prime Minister Jawaharlal Nehru, advocating for the legalization of prostitution. When asked by Nehru if she would leave her profession for marriage, Gangubai poses a poignant counter-question, demanding the Prime Minister to marry her, highlighting the complexities of her situation.

Despite her circumstances, Gangubai manifests confidence and resilience, traits often lacking in today’s society. Her friends at Kamathipura, Kamli embrace motherhood, while Roshna celebrates her freedom with a grand wedding ceremony, reflecting Gangubai’s influence and indomitable spirit.

Through “Gangubai Kathiawadi,” Bhansali offers a compelling portrayal of femininity, showcasing strong-willed women with diverse dreams and behaviors. The film received critical acclaim, with Alia Bhatt winning the Best Actress award, Sanjay Leela Bhansali receiving the Best Director award, and the film itself being honored as the Best Film at the Indian Film Festival in Melbourne.

In summary, “Gangubai Kathiawadi” is a powerful film that resonates with audiences, offering a glimpse into the life of an extraordinary woman who turns adversity into strength, making it a life-lesson to the society.

In a groundbreaking fusion of technology, governance, and advocacy, the Center for Media and Information Literacy (CMiL) orchestrated the MoJo for Governance Story Summit on November 25, 2023, in Galle. This transformative event convened government bodies, NGO representatives, advocates, and women’s rights activists in a collective effort to confront and find solutions for the pervasive issues surrounding women’s rights. What set this summit apart was its revolutionary emphasis on leveraging Mobile Journalism (MoJo) to amplify women’s voices and communicate powerful messages resonating globally.

Timed strategically to coincide with the International Day for the Elimination of Violence against Women, the summit served as a dynamic platform for meaningful dialogue and

collaborative action. Dignitaries from government bodies, NGOs, Women’s Rights Activists, and representatives from various sectors converged, demonstrating a commitment to protecting and advancing women’s rights, LGBTIQ rights, and addressing broader social issues.

The summit’s central theme revolved around advocating Women’s Rights through Mobile Storytelling, exploring the role of mobile storytelling in shaping narratives, challenging

societal norms, and promoting gender equality. Thought-provoking sessions facilitated engaging discussions that delved into the multifaceted aspects of women’s rights.

MoJo stories presented during the summit covered a spectrum of women’s rights issues, including Gender-Based Violence, educational rights, nutritious diet concerns, estate workers’ issues, minimal female representation in politics, and challenges faced by

transgender non-binary females. The diverse range of topics underscored the power of mobile storytelling in shedding light on crucial issues affecting women.

Government bodies actively engaged in discussions, recognizing the imperative need for collaboration between the public and private sectors to bring about meaningful change. Divisional Secretary Mr. Shafraas praised MoJo’s effectiveness in communicating complex topics to society due to its easy accessibility. Mrs. Renuka from the National Integration Office emphasized the need for sex education, citing instances of young girls facing

challenges due to ignorance.

The summit also addressed local issues, with officials highlighting the need for safe resting areas for students and women in the Matara District. Participants who created MoJo stories addressing these concerns were commended, emphasizing the tangible impact of mobile storytelling.

Media professionals and journalists expressed the necessity to empower young girls in MoJo storytelling, urging NGOs and Government Bodies to provide platforms for their voices.

Women’s rights activists shared personal narratives, stressing the urgency of addressing systemic challenges. Dr. Wimal Dissanayaka, Chairman of the Habaraduwa Development

Foundation, commended participants for bringing women’s rights violations to light through mobile storytelling, acknowledging its resonance across digital platforms.

The summit concluded with a resounding call to action, urging participants and guests to carry the momentum forward. The commitment to utilizing MoJo for governance and advocacy purposes was echoed in the creation of a collaborative framework, fostering ongoing dialogue and partnerships between government bodies, NGOs, and activists.

As we reflect on the MoJo for Governance Story Summit, it becomes evident that mobile storytelling has emerged as a formidable force for change. The stories shared during this summit are not confined to conference halls; they are disseminated through the digital

realm, igniting conversations and motivating individuals to stand up for women’s rights. The summit stands as a testament to the collective power of storytelling and its ability to shape a future where every woman is afforded the rights and dignity she deserves. The program is supported by the U. S. Embassy in Colombo, under its small and mighty grants program managed by Sri Lanka Unites.