Filmmaker Subbiah Nallamuthu on tigers, wildlife documentaries, and conservation

Few filmmakers might have ever forged a bond with their subject as profoundly as Subbiah Nallamuthu did with Machli, the legendary tigress of Ranthambore. In his award-winning wildlife documentary The World’s Most Famous Tiger (2017), screened on December 12 as a part of IIHS Screens at the Indian Institute of Human Settlements in Sadashivnagar, Bengaluru, he chronicles Machli’s life from her prime to her poignant final days, telling a story that has resonated with audiences worldwide.

Wildlife filmmaking often sparks a debate: Should stories centre on individual animals, or should they emphasise broader ecological narratives? For Subbiah, the answer is clear. “Most channels or platforms want personal storytelling,” he explains, “Honestly speaking, that is what works. Take My Octopus Teacher, for example. It’s about one man’s bond with an octopus, and it won an Oscar. Personal stories resonate.”

While scientists and environmentalists have criticised this approach, Subbiah believes it is a powerful way to connect people with nature. “Scientists prefer numbers over names for tigers, but for filmmakers like us, who rarely get commissioned or funded, storytelling is paramount,” he says. “Audiences connect emotionally when they can follow one character’s journey.”

Capturing Machli’s final chapter

Following Machli for nearly a decade presented its own set of challenges. “The story hinged on capturing her final moments,” he recalls. “Wild tigers usually vanish into the forest to die, but Machli’s death occurred in an accessible area. That gave me the rare opportunity to document her end.”

Subbiah’s persistence paid off. His film not only showcased Machli’s conflicts with her offspring and her decline in old age but also documented her unique relationships with other tigers. “The male tiger who fathered three generations — his death was a pivotal moment. Such emotional sequences were new to audiences and even some scientists,” he notes.

The filming process was anything but predictable. “You spend years gathering footage, waiting for significant events,” he says. “It’s nerve-wracking. If I hadn’t captured Machli’s death, I would have lost six years of documentation because that’s the most crucial thing in the film. That was the risk.”

Behind the scenes of ‘The World’s Most Famous Tiger’
| Photo Credit:
Special Arrangement

Balancing storytelling and science

In wildlife filmmaking, finding the balance between emotional storytelling and scientific accuracy is crucial. For Subbiah, the former takes precedence. “About 80-90% of my films focus on emotional storytelling—the characters, their bonds, and relationships,” he says. “If I include scientific details, it’s usually through voiceovers, and only when it enhances the narrative.”

He offers an example: “If a book says tigers mate only in winter, but I film them mating in summer, I highlight the behavioural change and its context. My audience is general, not academic. The aim is to create a story that’s accessible and engaging.”

In India, wildlife filmmakers face many hurdles, from restrictive shooting zones to a lack of funding. Subbiah’s films are largely self-funded. “You have to make every shot count,” he says. “While filming Machli, I also gathered footage of her offspring, which later became a separate film, Clash of Tigers.”

Sticking to one story can be difficult, especially when other fascinating narratives unfold nearby. Yet Subbiah remained steadfast. “People would urge me to cover other events, but I couldn’t risk missing something important with Machli,” he says. “When you’re focused on one character, you’re committed.”

Subbiah Nallamuthu
| Photo Credit:
Special Arrangement

Emotional connection

Subbiah’s attachment to his characters runs deep. Filming Machli’s final moments was particularly emotional. “I was alone with her,” he shares. “It reminded me of my grandfather’s death. I wanted to celebrate her life, to honour her story.”

This dedication has not gone unnoticed. “After a screening in London, the audience sat in silence for five minutes,” he recalls. “A woman, in tears, told me, ‘I don’t know if tigers will survive, but filmmakers like you must live long to make films like this.’”

Children’s feedback has also been profound. A child in Rajasthan asked, “Dinosaurs are extinct. What will happen if tigers disappear?” The question prompted Subbiah to document the translocation of tigers to Sariska, highlighting the cascading effects of their absence.

As wildlife filmmaking evolves, Subbiah sees a shift toward fictional storytelling. “Documentaries are rarely commissioned by OTT platforms anymore,” he laments. “I’m considering feature films — fictional stories rooted in real footage and incidents. It’s a gamble, but I believe it’s the next step.”

For now, he continues to champion the art of storytelling. “Anyone can take a photograph or edit a video, but telling a compelling story is a skill,” he says. “My goal is to create films that resonate, inspire, and, ultimately, make people care about the natural world.”