| Prasanna Jayakody ප්රසන්න ජයකොඩි | |
| Birth Date: | August 25, 1968 |
| Birth Name: | Prasanna Jayakody |
| Birth Place: | Horana, Sri Lanka |
| Nationality: | Sri Lankan |
| Education: | Taxila Central College, Horana[1] |
| Years Active: | 1993–present |
| Website: | Official |
| Occupation: | Director, producer, screenwriter |
Prasanna Jayakody (In Sinhalese: ප්රසන්න ජයකොඩි; born August 25, 1968) is a Sri Lankan film director and screenwriter noted for his contributions to contemporary Sri Lankan cinema.[2] His films often examine the complexities of the human mind, focusing on emotions, perceptions, and thoughts within the socio-economic, cultural, and religious context of Sri Lanka. Jayakody’s work is characterized by an exploration of human cognition and its interplay with broader aspects of civilization. His distinctive style emphasizes detailed imagery and deeply developed characters, often forgoing traditional narrative structures.
Prasanna Jayakody, born on August 25, 1968, in Horana, Sri Lanka, began his artistic career as a painter. He gained recognition early on by winning an art competition sponsored by the Japanese government while still in school. His artistic background has a notable impact on his visual storytelling. Jayakody's creative pursuits were influenced by his father, Jayasena Jayakody, a well-known author who won three State Literary Awards for Best Sinhala Novel. This familial connection to artistic and literary achievements has been an important factor in shaping Jayakody's career. [3]
Jayakody completed his education at Taxila Central College in Horana.[4] He initially gained recognition through theater, debuting with the stage drama Sevenali Saha Minissu (Shadows and Men), which explored themes of human complexity and social realities. The play received the Best Stage Drama award at the 1993 State Drama Festival in Sri Lanka.[5]
Transitioning to television, Jayakody directed several acclaimed dramas, including Nisala Vila (The Still Pond, 1999), Imadiyamankada (At the Crossing, 2000), Sanda Amawakayi (The Moon Eclipsed, 2002), and Hada Vila Sakmana (2003). These works earned multiple state awards, including Best Tele Drama of the Year. His television drama Awasana Horawa (The Final Hour, 1998) won the Best Young Director award at the Sumathi Tele Awards.
His directorial debut, Sankara, was released in 2007 and garnered several awards at both local and international film festivals.[6] Notably, it received the Silver Pyramid Award at the Cairo International Film Festival that same year. Additionally, the film earned accolades for Best Debut Director and the NETPAC Award for Best Asian Film at the Kerala International Film Festival. Sankara also won the Jury Special Prize at the Turkey Silk Road Film Festival. His subsequent film, Karma, released in 2013, earned nominations for several international awards. Jayakody’s third film, 28, was honored as the Best Asian Film at the Amsterdam Film Awards in 2014 and received the awards for Best Director and Best Actor at the SAARC Film Festival in 2018.
| Year | No. | Film | Ref. | |
|---|---|---|---|---|
| 2007 | 1082 | Sankara | [8] | |
| 2010 | 1168 | Karma | [9] | |
| 2014 | 1279 | 28 | [10] | |
| 2019 | Dadayakkaraya | [11] |
Sankara (Introspection)
Jayakody's debut film, Sankara, centres around Ananda, a young Buddhist monk tasked with restoring frescoes at a temple. Throughout his journey, Ananda encounters a series of events that lead him to meet a captivating woman, igniting forbidden desires within him that clash with his monastic vows. The narrative unfolds Ananda's internal struggle as he attempts to concentrate on his artistic mission, which paradoxically requires complete focus and a state of inner calm. Sankara delves into the profound philosophical and psychological examination of human nature's intricacies, showcasing the protagonist's turmoil as he grapples with his suppressed instincts against the backdrop of his spiritual commitments. The film offers a psychological perspective on Ananda's experience, highlighting the anxiety stemming from the tension between his earthly desires and his monastic duty to remain detached.
Karma
Jayakody's next film, Karma (2010), unfolds as a rich tapestry of emotions, portraying the intricate interconnection of three lives for uniquely compelling reasons. The narrative centers around Piyal, a 23-year-old man haunted by the guilt of his mother's death, who finds unexpected solace in caring for his neighbor, a 32-year-old woman battling cancer. Piyal's journey from curiosity to sexual attraction and, ultimately, to empathy for the woman, serves as a path towards self-redemption. In his efforts to alleviate the guilt of his past actions, he becomes deeply involved in the woman's life. This act of kindness leads her neglectful lover to confront his own feelings of guilt, having learned of Piyal's compassionate care. Karma delves into the complexities of human emotions and relationships, guiding the audience through a whirlwind of emotional dynamics and exploring the theme of life's inherent dualities.
28
In 28 (2014), country bumpkins Abasiri and Mani won't say no to a trip to Colombo, even if the occasion is a sad one: they have to bring back the corpse of a woman from their village. When Abasiri learns the identity of the woman, the mood changes—and the problems begin. The standard method of using an undertaker would cost too much, so in the end, it has to be an ice cream van and its unwitting driver that transports the coffin through the breathtaking Sri Lankan landscape. Layer by layer, this melancholic road movie gains depth, uncovering social chasms without losing its light touch.
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