imagine this theres the whitewash guy painting your house and apart from making you work extra hes just another face for you and a nuisance at that you curse and leave for office only to be called by the neighbours to tell you someones lying dead in your house it is the whitewash man now there is no identification on him whatsoever you have no clue who he is where he is from where he lives who are his relatives what do you do with the body this is an urban dilemma with the potential to spiral into a nightmare ones proof of identity is so important this is a true story that involves my friend a labourer working at her house collapsed and he had no identification on him she didnt know who to ask and where to go for help and from there i started writing the story we started shooting the film in real locations and engaged in the search for the identity of a nameless man who we were trying to place in the vast anonymity of urban spaces says the director of the movie km kamal what he doesnt say however is that id is an experimental movie made on a shoestring budget this movie is the giving back to society movie a labour of love of five people who have come to bollywood from across india and have found name and fame in the industry rajeev ravi cinematographer of chandni bar dev d gangs of wasseypur fame madhu neelakandan don and kahaani sunil babu his filmography includes ghajini and paa b ajithkumar resul pookutty and kamal the movie is owned by no one and is our collective commitment to cinema thats why are calling this the collective adds kamal no doubt mainstream movies are our bread and butter we accept that but if you look at it from our perspective we are the largest moviemaking nation in the whole world and if you look at our participation at a world level barring a few mentions at cannes theres nothing we are nowhere on the map look at iranian cinema they come with so many restrictions from the subject they choose to the religious censorship to budgets and even with all this they are making outstanding films and have ruled the world cinema for over a decade and half explains resul adding and for all of us in the contemporary cinema scenario the problem is not making good movies the problem is where will we show the problem is the distributors they are the real fascists of indian cinema they control the business what kind of cinema how long it should be what subject it should it be on this is not a sale who are you to put a price on anothers work of art but unfortunately people at large are being exposed only to businessdriven cinema all we are saying is that we want producers who are artistes themselves