Twenty years ago, if someone had told Dia Mirza that, at 41, she would star in an all-woman biker drama, she wouldn’t have believed it. But life has a way of surprising us. Amid Bollywood’s larger-than-life actioners comes Dhak Dhak, Taapsee Pannu’s production featuring Ratna Pathak Shah, Mirza, Fatima Sana Shaikh and Sanjana Sanghi.

“That a studio backed it and this movie got made, shows that we have come some way. It’s a harbinger of times to come,” beams Mirza.

Tarun Dudeja’s directorial venture revolves around four women on a journey of self-discovery. The actor says that the movie will shine because of its intent.

“It’s a balanced story that celebrates authenticity, reveals layers about people and does so gently. I don’t want to be disrespectful to the feminist movies being made, but when we depict progressive women, there is a certain brazenness used. Sometimes, there is disrespect to the country’s cultural and religious ethos. Only a few storytellers—Hansal Mehta, Zoya Akhtar and Reema Kagti—have the aesthetic to represent progressive Indian women the way they are. In Dhak Dhak, the women seek agency but that has nothing to do with their cultural rooting. It might be written from the lens of men, but it is such a strong feminist narrative.”

Dhak Dhak also underlines the power of sisterhood, she says. “A lot of patriarchal mindsets are shaped by women. So, we have to show women pushing each other up. For too long, we have watched saas-bahu bickering. Movie promotions [are sometimes] hinged on two leading ladies not getting along. These narratives have to change because they can’t be farther from the truth. I’ve had more fun on this film than I’ve ever had and that’s because I was with three cool women.”

Despite it being a film that she believes in, Dhak Dhak was barely promoted until its release week, which may affect its commercial success. But Mirza believes that the movie’s fate on a Friday cannot take away from its larger impact.

“Rehnaa Hai Terre Dil Mein [2001] is called a cult film today, but it was a box-office dud. I am detached from the [commercial] success and failures of my work because an honest film will reach people sooner or later.”