“I am interested in character-driven films, not story-driven,” says Nawazuddin Siddiqui. “If you look at modern cinema, the storyline can be as simple as someone travelling from Churchgate to Virar or from the Delhi airport to Dilli-6. Lekin kirdar ke dimag mein jo chal raha hai usko jab kholte hain toh usmein bada interest aata hai. Ek insaan ka dimag itni sari complexities le ke chalta hai aur isliye mujhe character ke joh characteristics hain, unki habits hain, usko explore karne mein bada maza aata hai,” he says, as he chats with us about what kind of films interest him, his trust in the talent of young filmmakers, and why he thinks that independent filmmakers are the ones who will get Indian cinema global recognition.

“We need to support independent films. Joh youngsters aa rahe hain unko motivation milega ki log support kar rahe hain. If we will not support them then the next generation will not make such independent films, they will get scared. Hamare yahan talent ki kami nahi hai, unko pata hai kam budget mein achhi filmein kaise banayi ja sakti hain. But we need to support them.”

Elaborating on what he means by character-driven role Nawaz explains, “Recently, I saw a Japanese-German co-production Perfect Days (2023). There is nothing like a plot per se in the film. It is about a character who is at peace with himself and every day, he goes to clean public toilets. He is alone, but he is not sad. He is happy and content. As a viewer, one starts falling in love with the positivity of that character. Story toh kuch bhi nahi hai, lekin kitna khoobsurat kirdar hai. Mujhe kirdaron (characters) se bada lagaav hai. Mujhe kirdaar karna bahut pasand hai.”

Do Indian films have characters like this? “Hamare yahan abhi thodi kami hai. Especially mainstream mein bahut kami hai. In mainstream films, even now, it’s the story that matters the most. I have high hopes from new filmmakers and producers who are coming into the industry. They are not in awe of mainstream cinema and are making independent films, making short films – I have lots of hope from them. With time, I’m leaning more towards films like Perfect Days – even if it’s a modest budget film, it is focused more on the characters’ complexities. Paisa kamane ke liye hamari mainstream filming hain. Wahan se kamayenge aur yahan gawayenge.”

Nawaz says that he tries his best to support young filmmakers. He adds, “Hamare desh ka naam chhoti films aur independent filmein hi karengi – aur kar rahi hain. If we want global recognition, then it is independent cinema that can get us that recognition. For instance, when Gangs Of Wasseypur opened, it was first released in Cannes. Then it also became a hit in India. Ritesh Batra’s The Lunchbox was part of international film festivals, and it also became a hit in other countries. The film was not that big a hit in India, but it was a massive hit outside.”

Last year, at a discussion on the popularity of Indian films in France, French officials said that The Lunchbox, which was a French coproduction, became quite a hit with French moviegoers and ran for several weeks.

Nawaz continues, “Be it Payal Kapadia or other young filmmakers like her, when they bring their independent thinking to films, then that will definitely add value (to Indian cinema).”

Nawaz says that in India, people want to watch independent films in theatres, but the problem is that these films have not been able to reach the moviegoers. “Agar 50 theatres mein ek show subah 10 baje aur ek raat ke 10 baje hoga toh apni film dekhne main khud na jaoon.”

In Rautu Ka Raaz, Nawaz plays the role of a police inspector. He says, “Iss story ka mujhe pace bahut achha laga. Whenever there is a murder mystery, it’s fast-paced action. Aisa iss film mein nahi hai”