It isn’t surprising that it took Ayushmann Khurrana’s star power to bring a story about the transgender community into mainstream consciousness. Headlining Chandigarh Kare Aashiqui — a love story between the brash body-builder Manu and trans woman Maanvi — was as much a risky gamble as it was a brave move. The gamble, like most of the actor’s recent ones, has paid off. Director Abhishek Kapoor’s film has been widely appreciated, with critics applauding Khurrana and Vaani Kapoor’s performances.

For Khurrana, the film’s success indicates that the Indian audience is ready for progressive content. “Progressive films can only be made in a progressive society. The response that Chandigarh Kare Aashiqui is getting [reflects] the fact that people want to see more disruptive content. I am thankful to [the audience] for being open-minded to see films about a gay couple in Shubh Mangal Zyada Saavdhan [2020], and a cis-het man and a trans-woman’s love story in Chandigarh Kare Aashiqui,” says the actor.

With films like Badhaai Ho (2018), Article 15 (2019) and many more over the past four years, he has become the face of issue-based dramas, sometimes highlighting a social evil through a light-hearted fare, and other times, as a punch in the gut. His process of choosing scripts remains the same — he goes by instinct and intent. “When we set out to make Chandigarh Kare Aashiqui, our aim was to start a conversation on inclusivity and equality in India. It is amazing to see that the film has engaged the nation. This shows they are recognising the need for gender parity and inclusivity.” 

While Khurrana is relishing that the Indian audience is embracing his social entertainers, he credits his collaborators for bringing gutsy stories to the table. “I have always believed that cinema can serve a purpose to better society. I have to credit my filmmakers and scriptwriters for doing the brunt of the work. Their vision has triggered the winds of change.”