Amma
The constant paradox that is loving New York.
Directed by Victoria Rivera
Directed by Victoria Rivera, Amma captures New York’s unique ability to shape those who choose to live there. Through the eyes of Rtusha Kulkarni, the short film reveals the internal struggle of remaining close to one’s roots whilst embracing a totally new environment.
Coping with the inescapable ache of missed calls from loved ones - Amma connects with anyone who has lived away from home, revealing the duality of city life. There are days when the choice to stay feels certain, and others when the pull to return is overwhelming.
Amma is a paradoxical love letter to New York, portrayed through a conflict between deep love for the city and an equally strong pull towards family. How did you approach capturing this duality, and how do you think that love—both for the city and for family—can be fulfilling and isolating at the same time?
I wanted to portray this duality of love for New York and the pull toward family in Amma by contrasting different elements within the film. The vibrant, dynamic visuals of New York symbolize the independence and anonymity the city offers, while the personal, intimate voicemails from Rtusha Kulkarni’s parents capture the emotional gravity and sense of belonging tied to family. In my experience, the city’s allure can be both invigorating and isolating, so the film leans into that internal conflict of balancing personal dreams with familial ties and the complexity of how fulfilling the pursuit of one can magnify the isolation from the other.
The film features a distinctive visual style, particularly with the interplay of natural and urban lighting, beautifully capturing both the bustle yet loneliness of New York. How did yourself and Soren Nielsen decide on the balance between wide, sprawling shots and more intimate close-ups?
The film aims to portray the paradox that is loving New York, so in conversations with Soren Nielsen (DP) about our visual approach, we knew contrasts would play an important role in the way we captured it. Sweeping shots in movement portray the freedom Rtusha feels as she moves through the city, with moments of stillness as she catches her breath or takes a moment to gather herself. Sprawling wides that exemplify the magnitude and opportunity of where she is, contrasted with intimate close-up shots of an expression as she listens to her parents voice.
Given the small, run-and-gun nature of this particular shoot, none of our scenes were lit. Instead, we planned our days around location, time of day, and sun patterns to achieve a certain look or feel. What I love about working with Soren is that he is meticulous and instinctual, with a keen eye for unique framing opportunities, light patterns, and visual contrasts that arise in the moment and are impossible to plan otherwise.
How did you and Rtusha Kulkarni approach translating such a personal experience into a universal story? Can you share some of the key elements you focused on to ensure this resonance?
When Rtusha Kulkarni, a dear friend, shared the difficult conversations she was having with her parents about returning home, I felt a pit of recognition in my stomach. It was a conversation I had had a million times with my friends, my family, and my own head. I recognized a feeling I knew any person living away from home would know: there are days when the choice to stay is unequivocal, and others when it’s not so clear at all.
I’ve found that the most personal stories often resonate universally. Anyone who has built a life away from home understands the complexity of loving both a place that fulfills you as an individual, and the people who pull you towards your roots.
The colour palette ranges from warm, nostalgic tones to more detached hues. Were there any specific visual references or inspirations for the film’s colours?
I knew I wanted to have a rich color palette with vibrant hues and deep contrasts. We achieved it by carefully considering the time of day at which we wanted to capture scenes at varying locations. We knew we wanted to create contrasts between the cold streets, subway, and evenings in the city with the golden warmth of a sunset in the park as Rtusha moves, carefree, expressing herself with ease. These contrasts serve the same duality we wanted to express with our film, where nothing is gained without something lost.
“I recognized a feeling I knew any person living away from home would know: there are days when the choice to stay is unequivocal, and others when it’s not so clear at all.”
You affectively incorporate real voicemails from Rtusha’s parents instead of scripted dialogue. How did this decision influence the emotional impact of Amma? Were there any challenges while working with this raw, unscripted material?
I worked very closely with Lindsey Nadolski, editor and sound designer, to craft a story and interweave Rtusha’s parents voicemails into the film in a way that felt moving and insightful. Lindsey has an incredible ear and eye for rhythm, flow, and story. Together, we listened to unscripted recordings and selected telling moments that felt resonant and telling. We chose to interweave the two voices in the editing process to create a balance that would have otherwise been impossible without asking them to speak in a way that didn’t seem organic to their individual tones and personalities. Our goal was to create an authentic story by working with what they offered rather than imposing our vision from the start.
The concept of "home" is fluid and ever-changing, especially for those living away from their families. How do you hope the film contributes to the ongoing conversation about identity and belonging, especially in the context of experiences like Rtusha’s portrayed in Amma?
The film captures the nuanced and sometimes conflicting emotions of living away from family while forging a new life in a different city, through Rtusha’s experience. By showing the intimate struggle between maintaining connections with one's roots and embracing a new environment, Amma hopes to highlight how personal identity is shaped by both physical places and emotional ties. The film seeks to resonate with anyone navigating similar moments, amplifying what it means to belong and how home can be both a place and a feeling that shifts with our experiences.
What's next for you?
I’m always looking for opportunities to tell stories that can resonate with people in big or small ways. I like to work across different spaces; be it narrative, doc or branded work because I find each one has it’s own challenges as well as creative opportunities, especially in short-form work. Currently, I’m in development of my first feature film, Malpelo, which is a Spanish language drama and thriller set in my home country of Colombia.
Directed by Victoria Rivera
Cinematography: Soren Nielsen
Edit & Sound Design: Lindsey Nadolski
Original Music: Julian Tobon
Drosera Films and SLMBR PRTY Production Company
Featuring Rtusha Kulkarni
Voices Anita Ganjegunte & Raghavendra Kulkarni