By Panchali Illankoon

Over the weekend of May 31st and June 1st, 2025, Oscar-nominated Indo-Canadian filmmaker Deepa Mehta launched Cinnamon Hotels & Resorts’ inaugural “Signature Weekends” – a series of curated events and immersive experiences designed to celebrate the arts, culture and heritage that puts destination Sri Lanka in the spotlight. 

Mehta’s relationship with Sri Lanka spans more than two decades and three major films, where Oscar-nominated Water (2005), Salman Rushdie’s Midnight’s Children (2012) and Shyam Selvadurai’s Funny Boy (2020) found creative ground in the backdrops of Sri Lanka. From Bentota doubling as the ghats of Varanasi of Ganges in Water to Colombo as the crowded streets of Delhi, Bombay and Karachi in Midnight’s Children, each film proved Sri Lanka’s remarkable ability to transform, both geographically and visually, into the worlds Mehta needed to bring to life.  It’s a relationship she reflected on candidly throughout the Signature Weekend, which featured exclusive screenings of Water, Midnight’s Children and Funny Boy at Cinnamon Bentota Beach and Cinnamon Life. 

“You Name It, Sri Lanka Has It”: Mehta’s Cinematic Affection for Sri Lanka

Few directors have embraced Sri Lanka as intimately or as often as Deepa Mehta. 

Mehta arrived in Sri Lanka after Water, originally meant to be filmed in India, was abruptly shut down due to religious opposition. “Shooting Water in Sri Lanka was a solution to a complex and upsetting problem,” Mehta recalls. “We had to shut down production in India, and it was a couple of years before we could even think about making the film again. When we did, Sri Lanka was the obvious choice, and it ended up working out brilliantly.”

What began as a logistical pivot soon became a long-term creative partnership between the filmmaker and Sri Lanka. “Even though India inspired the stories for Water and Midnight’s Children, Sri Lanka provided a beautiful, rich backdrop to set them against, and the immense talent to bring them to life.”

Her positive experience filming Water is credited for her return to the island, not once but twice more. “When we started Water, we met Gopi Darmaratnam, a line producer who worked really well with [my producer] David Hamilton, and Errol Kelly, who worked so harmoniously with Dilip Mehta on the design of the film. By the time we shot Midnight’s Children, it was like working with family,” she commented on the local talent with fondness. “My perception of the local talent has not changed. I think they are some of the best in the world, and I worked with many of the same crew across my films, each with their own complexities in storytelling. From the fabulous Sarala, who carried Water so beautifully, to the incredibly skilled production teams who made it all possible after so many setbacks. On Midnight’s Children and Funny Boy, we worked with the talented Thushara and Lesli Seram on hair, Sapna Yadav on wardrobe, and so many others. We experienced so much kindness from the crew and their extended networks. Rehan’s parents, Suresh and Mandy, even allowed us to use their stunning home for all three films.”

But it’s not just the warmth of the people or the crew that’s like family that keeps Mehta coming back, it’s also the sheer versatility of the place. “You name it, and Sri Lanka has it,” she said. “Beaches, mountains, tea plantations, jungle, urban bustle, and stunning architecture.” And just beyond the scenery lies something even more essential to a filmmaker - collaboration. “What makes filming in Sri Lanka so special is that it’s a two-way street: the industry’s strength is an equal desire to learn and to impart knowledge. The local crews are generous with their expertise, enthusiastic to learn, and they bring a kind of reliable confidence, without arrogance, to the work.”

Mehta adds that filming in Sri Lanka is easier than ever, as there is strong support from the local governing bodies such as the National Film Corporation and the Sri Lanka Tourism Promotion Board.  “It’s rare to find so many organisations, such as the Film and Tourism boards and the government, working cooperatively to create ideal conditions for filming. That’s incredibly attractive to filmmakers who don’t want to get bogged down by red tape. If Sri Lanka can continue to offer stability, streamlined approvals, and access to experienced local talent, it will only grow as a cinematic destination.”

So perhaps it’s no surprise then that Mehta isn’t quite finished with Sri Lanka just yet. Over the weekend, she announced her next project, “Sher”, a comedic spin on the Sherlock Holmes universe centred around the detective’s fictional Indian daughter. The film, her fourth production in Sri Lanka, is set to be shot in locations across Nuwara Eliya and Kandy. With pre-production already underway and casting set to begin in July, Mehta is currently scouting locations with longtime production designer Eroll Kelly. Filming is expected to begin later this year. 

A Weekend of Cinema with Midnight’s Children and Water 

The ballroom of Cinnamon Benota Beach was transformed into an intimate home-theatre style set up on May 31st for exclusive screenings of Midnight’s Children and Water.

The Signature Weekend began with the screening of Midnight’s Children, a film adaptation of Salman Rushdie’s Booker Prize-winning novel. In a rare surprise, the audience was welcomed with a recorded video message from Rushdie himself, reading the novel’s introduction. 

Although the premise of the film is spread across India, Pakistan and Bangladesh, it was almost entirely shot in Sri Lanka. Barring a few establishing shots in Kashmir and Mumbai, the entire production took place in Colombo, transformed under the creative eye of master movie set maker, Eroll Kelly.  Kelly, whose filmography includes the likes of Indiana Jones and the Temple of Doom to The Jungle Book and Mother Teresa, converted 42 locations across Colombo into cinematic doubles for India. The parking lot behind the Kettarama Cricket Stadium became an urban slum. Ashok Ferrey’s iconic Flower Road home (which was seen in Water and Funny Boy) returned to the screen while colonial-era facades stood in for the city streets of 1947.  Sri Lanka’s transformation was so seamless, many found themselves peering closely at the film, trying to catch glimpses of familiar Colombo landmarks. 

After the screening, Mehta and Producer David Hamilton shared behind-the-scenes anecdotes. One highlight was their account of how filming was temporarily shut down after the Iranian ambassador raised objections over Rushdie’s involvement. “It took a week to get back on track,” Hamilton said, “but we were quick to reassemble.” 

Midnight’s Children was followed by the screening of Water, which was nominated for Best International Film at the Oscars.  One of the most endearing moments of the weekend was the reunion between Mehta and Sarala Kariyawasam, who played the film’s unforgettable eight-year-old protagonist, Chuiya.

“Today is really special because I got to see my Sarala, my Chuiya. I absolutely loved working with her,” Mehta said, embracing the actress. Sarala, now all grown up with children of her own, was also just eight years old at the time she auditioned for the role. At the screening, she shared how the experience had changed her life. “Deepa Aunty changed my life. I didn’t understand the full weight of the story back then; all I remember was the love I got from Deepa Aunty and the cast and crew. But watching it today, especially as a mother of a daughter, it hit me so much harder,” she said, visibly emotional after the screening. 

When asked whether she realised she was filming with a Bollywood legend, she added, laughing, “I didn’t even know who John Abraham was! We spent so much time on set, and I had no clue. Years later, when my friends were swooning over him and I thought, gosh, I should’ve taken more pictures!”

Creating Water’s vivid world in Sri Lanka was also a hugely ambitious task.  The ghats of Varanasi, the sacred city on the Ganges, were recreated along the banks of the Bolgoda Lake. Errol Kelly and his team built over half a mile of ghats in just six weeks. The set was so convincing that it even briefly became a local tourist attraction.

As the evening drew to a close, Mehta reflected on her long-standing connection with the country and shared that “being here is like coming home. Signature Weekend is a very wonderful idea, and it’s beautiful to be here.” 

Brandon Ingram, Vice President of Brands at Cinnamon Hotels, and the brains behind Signature Weekends, closed the evening by reflecting on the event’s vision: “It feels great to have launched our Signature Weekends with Deepa. We want these weekends to be about gastronomy, art, and reflective practices, as ways for people to connect. We are celebrating Sri Lanka and having Deepa here, someone who has truly celebrated Sri Lanka through her work, was so powerful.”  

As for what’s next, Ingram teased a lineup of remarkable Sri Lankans making waves abroad. “We’ve got a list of 20–30 names we’re reaching out to. This is just the beginning.”