Riya Sharma (BOMBAY TIMES; April 20, 2021)

Life came to a full circle for producer Guneet Monga when she was awarded the second highest civilian French honour in Delhi recently. Known for backing projects like the Oscar-winning documentary Period: End Of Sentence and films like The Lunchbox, Gangs Of Wasseypur, Masaan and many more, Guneet spent 24 years of her life in the capital before finally moving to Mumbai.

After being conferred the honour of Chevalier dans I’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters), the producer speaks to us and shares, “For me, getting the award felt like life coming to a full circle. I began my career with an Indian-French-German film called Valley of Flowers (2006). Then in 2012, my first films that went to Cannes were Gangs Of Wasseypur and Peddlers and the year after that were The Lunchbox and Monsoon Shootout. Then again a year later, we were able to take Titli to Cannes. As I look back, I think there has been a career that has been built doing independent films. I am very happy and grateful for my work to be recognised and championed in this way.”

‘IT’S A LOT OF MIXED FEELINGS TO GET THE AWARD IN DELHI’
Keeping the SOPs for Coronavirus in mind, it was a closed event where Guneet was awarded, and she says that she missed her friends.

“I lost both my parents very early in my life. I was born and brought up in Delhi. Of course, I miss my parents. There were five people from my family who were allowed, but I missed my friends and all the eyes that love you for who you are, and in Delhi, that feels like home. But it was also very surreal,” she says.

Guneet points out that while she spent her childhood and growing up years there, she also lost her parents, so Delhi evokes a lot of mixed emotions. “Getting the award at my home turf feels very sacred and special. But it’s a lot of mixed feelings,” says Guneet.

‘TIRED OF SEEING WOMEN SHOWN AS DEVIS ON SCREEN’
The French Embassy had also organised a discussion on Women in Cinema. Ask her if there’s a change that she has seen in this regard and Guneet explains that the conversation has started. “The #MeToo in India… I don’t think it went to waste. It started a lot of conversation and it has impacted our everyday choices. And change does not happen in a day. If we talk about women in films, I feel it (their role) is evolving and increasing. Change will happen but we have to be very consistent. We first need to understand that we are not each other’s competition, we are each other’s companion. We have to believe that when one woman shines, it opens the door for 10 more. Less than 5% women make films currently, let the status quo change, let it get to 10%, 15%. But let’s get it started, and I want to appreciate the start of it. I am definitely more fascinated and excited by women’s stories because I am also tired of women being portrayed as devis. It’s time to have us in all our colours and forms,” she says.
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‘I DID THE LUNCHBOX AT 29. I THOUGHT I WOULD BE APPRECIATED FOR IT, BUT MANY PEOPLE CALLED IT A FLUKE’

In her early 20s, Guneet moved to Mumbai, but she says that she was not taken seriously because of her age, background and the profession. “It was not about talent, it was more about ageism. I don’t think there are a lot of people who understand what producers do. As I sensed discrimination, I would show up in a sari. I coloured my hair white. I just wanted to look older to be taken seriously. I was 29 when I did The Lunchbox. I thought at that time, I would be celebrated for doing something so special. Of course, I am being celebrated today, and I am very grateful for it, but at that point of time, it was called a fluke. Ki ek baar kar liya toh dubara thodi na karoge,” elaborates Guneet.