“Difficult, disheartening, and sometimes depressing” — that’s how Kanu Behl describes his last two years as he fought to bring Agra to Indian theatres. This, even though the Rahul Roy, Priyanka Bose, and Mohit Agarwal-starrer won wide praise at the Cannes Film Festival 2023. Now, the drama is finally arriving in Indian cinemas on November 14. 

Behl’s jubilation is evident when he, over a phone call, tells us, “It was such a long and hard battle. We all know the state of independent cinema now. To finally get here where the film will meet its real audience is an indescribable feeling of joy.”

Finding a distributor that could put faith in the story — of a sexually repressed man in the context of India’s space crunch — was the struggle. Eventually, Saregama Films came on board as the distributor. Behl, who has written the story with Atika Chohan, shares, “It was a daily battle. If you’re trying to make a difficult film, you need to have strong collaborators from the production point of view.”

Film banners apart, the director has another collaborator in mind — the government. He believes it’s imperative for the government to sponsor a distribution channel so that independent films can thrive in Indian cinema.

He says, “The top five or 10 films that come through festivals should get government support. There must be a quality check. If a film clears that, the government must mandate a certain number of screens for its release. It also needs to give tax breaks so that the audience has an incentive to watch that film as opposed to the next blockbuster playing in the next screen.”

Agra is coming to theatres a month after a slew of indie films, from Jugnuma to Sabar Bonda, released on the big screen. Does it seem like a shift? “I hope it’s a shift,” asserts Behl, before adding, “But I’ve seen this before. When I came out with Titli [2014], a lot of independent voices were emerging. Then there was a lull. So, I’m happy about all of these films, but I’m also wary because I don’t see a sustainable system. I hope we all can create a system for independent films.”

Doing the rounds of film festivals for the first time can be an out-of-body experience for actors. It was no different for Megha Burman, whose movie Kennedy travelled to the Cannes Film Festival last month.

Anurag Kashyap’s directorial venture, also starring Rahul Bhat and Sunny Leone, got a standing ovation at its screening. “To be there with a film, which was selected, was huge,” gushes Burman.

As much as Kennedy is winning praise in the international film festival circuit, the actor points out that the red-carpet appearances at these galas, particularly Cannes, are a different ball game. “I understand that fashion is integral to Cannes, but the coverage has increased vastly. I could’ve opted for an outlandish gown, and paid the paparazzi here to be featured on their Instagram. But I wanted the film to shine. I felt comfortable knowing my film was selected by an esteemed jury. That balance of cinema with fashion is essential,” she asserts.

For Burman, who has previously featured in Panga (2020) and a few south movies, the days leading up to the red-carpet outing weren’t easy. “I reached out to designers for my Cannes outfit, but not many responded. Most designers look at your [social media] following and give gowns for free in exchange for the exposure. Ten days before the gala, I was calling stylists frantically. Finally, I found a Varnika Sangoi creation thanks to my stylist Keyuri Sangoi, who turned in the outfit in three days.”

Vijay Varma is seamlessly marking his territory by playing the villain, but not just any villain. He played Anand Swarnakar, a psychopath serial killer, in Dahaad — his latest web show that also starred actors Sonakshi Sinha and Gulshan Devaiah. “I am over the moon,” says the actor, about all the love and adulation coming his way.

Last year, he caught the audience’s attention as the vile husband physically and emotionally abusing his wife in Darlings. In a candid conversation, the actor shares insights into his approach when it comes to playing such complex roles.

Does the 37-year-old not fear getting stereotyped for playing twisted characters one after another? “I wouldn’t be surprised if I got typecast. But I’m not worried because I have enough in my arsenal to kind of change that [image]. For now, I am enjoying being deliciously evil.”

Ask him about the prep that goes into portraying such challenging parts, and Varma shares, “The exterior of the personality is fairly easy to understand, but there’s so much happening in your head. Some of the actions, you just don’t understand why anybody would do this. So, it took me some time to understand that aspect.”

He adds, “I had a love-hate relationship playing this part (in Dahaad) because I loved the idea of being this mysterious serial killer, but I hated the effects of it.”

Does playing repugnant characters play with his mind? “They impact me [a bit], but not to the extent that they would take a toll on my mental health. I enjoyed the effects that they create in the audience’s minds,” says the actor, who will next be seen in the OTT project The Devotion Of Suspect X alongside actor Kareena Kapoor Khan.

The actor, who visited Cannes this year, last visited the film festival 10 years ago, for Monsoon Shootout: “Earlier, I was a wide-eyed, optimistic and idealistic young actor at the festival. I was like a child in a candy store. And then, life happened. It took years for me to find an audience for my work and for any kind of success to happen. So, visiting Cannes this year was like life coming full circle; it was a reunion where I met my younger self.”  

Varma has been a part of crime thrillers such as She and Mirzapur: “Crime has always been a fascinating genre; I feel, as a species, we are obsessed with watching violence or crime, maybe because it constantly exists around us in some form or the other. Having said that, we definitely need more comedies and that too, with intelligent humour.”

Besides her wacky sartorial choices at Cannes, actor Urvashi Rautela’s unfounded claim of having attended the film festival for a photocall launch of her upcoming film, purportedly a biopic on yesteryear actor and pop culture icon Parveen Babi, has shocked many.

However, the absence of the makers of the said project from the photocall raised suspicion, as did the fact that many actors go to Cannes and just get clicked at the red carpet, even when their films aren’t being premiered. Now, we’ve learned from several industry insiders that there is no buzz yet about a biopic on the life of the late star.

“It’s very clear that she is lying, and it is bogus news. There are no conversations around any such project in the circuit,” says a source.

When we reached out to Rautela for clarity on the makers of the film, she didn’t give any names and insisted that the project is at a very nascent stage.

Only one project on the subject has been officially announced — a mini-series based on the book Parveen Babi: A Life by Karishma Upadhyay. Producer Sneha Rajani, who also backed Piku (2015), confirmed that she has acquired the rights for the project.

“The series is being made with an A-list director on board, and Urvashi is not being considered for the lead,” says a source attached to project.

“Urvashi was there all by herself, without the producer, writer or director. What is this photocall launch? She could’ve said that she wants to or is thinking of doing the project, but alleging that it is being made without the name of the team is definitely not credible,” the insider asserts.

Filmmaker Vivek Rajan Agnihotri took to Twitter to remind everyone that the recently concluded Cannes Film Festival is meant for “showcasing films and it’s not a fashion show”. Elaborating on his opinion, he says, “Films have been replaced by fashion, which creates a sensation, instead of being real. Now, looking weird and shocking the audience is in fashion.”

Recalling his first visit to the French Riviera five years ago for his film The Tashkent Files (2019), Agnihotri says, “I noticed that models wearing weird costumes were the main attraction on the red carpet, while big actors and directors walked by and nobody cared. That is still the case when it comes to Cannes.”

The Kashmir Files (2022) director, when asked why Bollywood actors remain quiet on the current scenario of a film festival changing into a fashion show, he says, “They have become like social media influencers and are busy doing brand promotions. It’s like when you dance at a wedding and take money for it, you can’t criticize the food that’s served. They (actors) have no spine left (to understand and express the real purpose of the festival and what it stands for).”

Hoping for better sense to prevail the next year, the 49-year-old feels that Cannes is a space for important films that “make bold statements”. He adds, “I am talking about films that aren’t mainstream and won’t get a platform to be showcased otherwise.”

The fact that several celebs walked the Cannes red carpet, including those who had no film screenings at the festival in the French Riviera, surprised Onir. The filmmaker recently took to Twitter to share his views: “Never got it why people go to #CannesFilmFestival just to be clicked wearing all kinds of costumes (very often strange) when they don’t have any of their films screening, Nor are they passionate about watching films and panel discussions. Does one really feel good doing this? (sic).”

Talking about it, he says, “People put pictures of them wearing so many clothes at Cannes, but no one talks about the films that are [screened] there, which are among the best from across the world.”

What Onir is also not able to wrap his head around is that people going from India don’t wear outfits that represent our culture. “Most of them wear stuff that doesn’t represent our country’s tradition or fashion. I feel it makes no difference to the world if they get photographed there or not. What matters is their work,” says the 54-year-old, adding, “Is anyone talking about the filmmakers from Manipur and Assam who went to Cannes? People should post about the films they watched and not the clothes they wore.”

Sara Ali Khan, who recently returned from Cannes, spoke to us about her experience, why she likes to stay true to her roots and her travel plans in the future. Excerpts:

Sara says, “As a girl, I am modern, I have studied abroad, but my roots, my heart, and my soul is completely Indian. I think as I was representing my nation to millions of people worldwide, on a global forum at Cannes, it was crucial to bring forward what I represent. My look was a modern twist to a very traditional attire that is inherent to the Indian woman’s identity. The deconstructed saree look was the best take I could have on that. I think there was something extra special about this look, especially because many made a humbling comparison of me with my daadi.”

Sara says, “One day I aspire to do a film that will be shown at Cannes. But in the meantime, I’m a proud Indian actor and I’m a woman. I talk about the importance of women in cinema and behind the camera, and in front of the camera. If I had to describe Sara with three adjectives, they would be woman, actor and Indian. I went there to represent all these. If in the bargain anybody said it’s a statement that I’m making, it’s a compliment to me. But that was not the intention.”

A self confessed travel junkie, Sara says, “I want to go backpacking around the north-east region of our country. The farthest I have been towards the east is Kolkata, and Assam only once. I really want to visit Meghalaya, Nagaland and Arunachal Pradesh. That’s the next thing on my bucket list. Norway and the northern lights are also very high on my bucket list, I would love to visit soon.”

She, who recently tried puchka in Kolkata, shares, “I firmly believe in being fully present in the moment, especially when I am travelling. I like all kinds of food, to be honest. I like the idea of living like a local wherever I go be it in terms of food or aesthetics.”

For her second appearance at Cannes, Aditi Rao Hydari has been channelling her inner modern-day princess. The actress spoke to us from the French Riviera about her experience this time around.

Aditi said, “It feels surreal to be at Cannes during the film festival, and though it’s my second time here, I am still new to this. The pressure can take over, but it’s important to have fun and celebrate. I was multitasking and shooting till the day I got on the flight. I was sleep deprived and had no time for fittings or any prep, but I have a great team, and we are winging it.”

When asked if there were any faux pas from the past that she was particular about not repeating this time, she replied, “In other people’s eyes, we are always making mistakes, but we can’t live our life by what others think about us. We have to be truthful to ourselves and our intentions. We need to celebrate life and be happy. The only thing I have control over is intent, and like last year, this year too, my intention was to just be authentic about what I was wearing, enjoy the red carpet and not feel daunted by the massive expectations of the ‘Cannes red carpet’.”

Aditi says, “I don’t want to live by other people’s standards of beauty. To me, it is about upholding your self-respect, pride and dignity and empowering yourself and other women.”

She adds, “The prep was so stressful last year… like which designer are you getting, how big is he/she, what colour is your gown? I was a bundle of nerves and so was my team. At some point, we all got in a team huddle after we landed in Cannes. We got a coffee and decided to stop stressing ourselves and take it as it comes. That was a good learning lesson. This year, the lead up to Cannes was calmer.”

An Anurag Kashyap movie has become something of a staple in the Cannes Film Festival. Over the years, the filmmaker has taken Gangs Of Wasseypur (2012), Ugly (2014) and Raman Raghav 2.0 (2016) to the prestigious festival. In the small hours of Thursday, his latest offering, Kennedy, had its première at the ongoing film gala, as part of the Midnight Screenings section. 

Filmmaker-friend Sudhir Mishra, who attended the screening at the Grand Lumiere Theatre, says he felt like a “proud elder brother” as the neo-noir crime thriller — starring Rahul Bhat and Sunny Leone — received a seven-minute standing ovation. 

“If you read Kashyap’s interviews about Kennedy, you will realise that he mentions taking the ideas from the stories I told him. So, he has graciously dedicated the film to me, and given me the first credit. The show ran to a full house even though it was a late-night screening. I felt proud as everybody stood and clapped when the film got over at 3 am,” he shares.

To Mishra, the film’s resounding success is a marker of Kashyap’s evolution as a filmmaker. He adds, “I’ve known him since he first came to my brother’s [Sudhanshu] office in 1994. Today, I see how far he has come. If anybody is known as a representative of Indian cinema abroad, it is Kashyap.”

Mishra adds, “Anybody else who got that kind of reception would be cocky, but he is shy, almost as if he cannot believe it’s happening.”

Kennedy tells the story of an insomniac cop who turns assassin. After Ugly, having his second film premièring at Cannes was an emotional moment for leading man Bhat. “I feel blessed, honoured and grateful. This is what the manifestation of a dream looks like,” he says.

Independent film critic Sucharita Tyagi says the film left the audience teary-eyed. Heaping praise on Bhat, she says, “Despite Rahul’s face being hidden behind a mask, his embodiment of the character is the film’s strength. It marks Anurag’s return to form.”

Kennedy has reached the ongoing Cannes Film Festival, as has Sunny Leone. Her movie, helmed by Anurag Kashyap, premièring at the prestigious gala is perhaps the perfect example of how far the actor’s tenacity has brought her.

“I’ve always believed that if you don’t give up, work hard, and stand by your own morals, you will be happy with your choices,” she says, looking back on her journey.

In 2011, Leone left her profession as an adult star in the US and stepped into Indian showbiz with Bigg Boss 5, following it up with Hindi films. Was it exhausting to forge her path in an industry where people may have harboured judgment about her?

“If it wasn’t for my fans, I wouldn’t have been here. Disappointment and feelings of rejection give us the option of either being negative, or figuring out our own path. This is one of the proudest moments of my career.”

Last July, Kashyap and Leone announced their collaboration. That was enough to spark chatter about whether she will fit in the vision of the director, known to choose actors over stars. Leone admits that questions around her acting capabilities have always followed her.

“It gets to me at the back of my mind. I’ve tried not to show that people’s comments hurt me. [I’ve been asked] questions like, ‘When will you do a serious role?’ or ‘How does it feel to be in a serious role now?’ It’s not a great feeling. I’ve always taken myself seriously. Unfortunately, some people don’t see you as a human. Kennedy and Anurag Kashyap are the perfect examples of pushing all that negativity aside, and something amazing coming true.”

The Rahul Bhat-led neo-noir thriller, which premières today, sees Leone play Charlie. To her, Kashyap’s set has been nothing less than a school, where she learnt much about cinema and craft. “I was nervous at my audition, and on the first day of shooting. I’m happy they accepted my version of Charlie. To get advice and lessons from someone who is considered knowledgeable not only in the Indian film industry, but all over the world, is incredible. I hope I can work with Anurag sir again.”

This is his second time at the Cannes Film Festival as a part of the Indian delegation, and Madhur Bhandarkar is “thrilled” to be back. The filmmaker tells us, “It is a great way to meet people from across the world. I always say that Cannes is the mother of all film festivals!”

One of the highlights of his current visit, he shares, was getting to meet Hollywood star Michael Douglas. “It was absolutely a big fan moment for me,” he says, adding, “A friend introduced me to Michael sir at the India Pavilion. We’ve grown up watching Michael Douglas films. We kept talking about and recapping all his great films, like Basic Instinct (1992) and Wall Street. He is very gracious; such a great personality!”

The India Lockdown (2022) director, who last attended the festival in 2019, feels India’s imprint on the global map is only growing with each passing year. “For instance, at the India Pavillion, (politician) Kushboo Sundar, (actors) Sara Ali Khan and Vijay Varma, producer Guneet Monga and Dr L Murugan (Minister of State for Information & Broadcasting) spoke about how India has left a strong mark globally, especially over the last 10 years. In terms of the kind of cinema we are making, the world saw how RRR (2022) and Naatu Naatu (Oscar-winning song) caught attention. And here at Cannes also, when I interacted with people, I got a phenomenal response on Naatu Naatu. So, people are talking and are curious about the kind of cinema and content we make. The surge of OTT has also been huge,” Bhandarkar shares.

Beaming with pride, he adds, “I have been a very frequent visitor of film festivals across the globe. From the time I started making films, I have been in the juries as well. And I have seen that we are the biggest production house in the world, when it comes to cinema.”

During the Cannes Film Festival, Kumar Mangat Pathak’s Panorama Studios and Anthology Studios, founded by former Warner Bros. local Korean production head Jay Choi, Parasite actor Song Kang-ho and director Kim Jee-woon made an exciting announcement. The two studios will join hands to produce the Drishyam franchise in Korean language. The announcement was made at India Pavilion in Cannes in the presence of the studio heads. This would be the first-ever collaboration between an Indian and a Korean studio and the first time a Hindi film is being officially remade in Korean.

Drishyam, an Indian franchise, proved successful in many Indian languages – Malayalam, Tamil, Kannada, Telugu and Hindi. The Hindi sequel, directed by Abhishek Pathak, which released last year, became a huge success. The Chinese remake, Sheep Without A Shepherd, too, won the audience’s appreciation. Ajay Devgn and Tabu headlined the franchise in Hindi.

Kumar Mangat Pathak says, “I’m excited that the Drishyam franchise is being made in Korean, a first for a Hindi film. This will not only increase its reach outside India, but will also put Hindi cinema on the global map. All these years, we have been inspired by Korean fare, and now they have found a muse in one of our films. What can be a bigger achievement for the Indian film fraternity.”

Jay Choi added, “We are thrilled to have an opportunity to remake a successful Hindi film with a touch of originality from Korean cinema. The remake has greater significance as the first major co-production between Korea and India. Through our partnership, we will be able to bring the best of both Indian and Korean cinema and make a meaningful remake that is as excellent as the original.”

Pathak is confident that the Drishyam franchise will find an audience in Korea and around the world. “This is the beginning of a valuable cultural exchange between both countries and film industries,” he says.

US-based Jack Nguyen will serve as the executive producer of the project. He had collaborated with Pathak on Atithi Tum Kab Jaoge and with Jay Choi and his team to produce a slate of Korean films. 

Jack Nguyen says, “I have a history with and utmost respect for these highly-regarded producers, so it was a natural fit for me to bring them together to collaborate on a great story in Drishyam. I’m excited to help them make history with this first-of-its-kind Indian-Korean co-production.”

A bevy of Indian beauties have been seen at the Cannes Film Festival over the last few days, soaking the sights and sounds of cinema and the French Riviera. Shruti Haasan tells us what makes her Cannes visit so special this year. Excerpts:

My previous experience at Cannes was completely different. This time around, I’m truly excited as I’ll speak about my international film, The Eye, which is very close to my heart. Cannes is a melting pot of culture and incredible talent, and I’m proud to represent my country through an international film.

That’s amazing for her. The rest of us are waiting and working towards catching up. I hope someday we reach a level of pay equality, where this topic isn’t even required to be discussed. Honestly, there’s a huge and long bridge for us to cross. I’m excited and honoured to be conversing with an amazing group of people at the session Breaking Through the Lens, pioneered by my director, Daphne Schmon. In order to achieve pay parity and gender equality, changes need to happen strategically and organically. The first step, as always, is to talk about it.

Honestly, I’m never as excited about walking on the red carpet as I should be. I have fun, and I see others who take it more seriously, and I applaud that. My sense of style and fashion has always been a bit different, and I like to be myself. I have always loved the way Cate Blanchett dresses on any red carpet.

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Six years after she first turned up on the Cannes red carpet to promote a film she had eventually dropped out of, Shruti Haasan is set to return to the gala. This time around, Haasan, in the capacity of the chief guest of honour, will participate in a round-table discussion on gender parity. Titled Activating Change, and hosted by Breaking through the Lens, the talk will focus on challenges and opportunities that the under-represented genders in the film industry face.

“I have spoken to my co-stars about [gender parity] but, it is not a conversation we get into in detail, because it is still awkward and hasn’t been dealt with openly. I am happy to start talking about it. A lot of us are in the process of [effecting] change, be it about mental health, or pay parity. I was always influenced by musicians who spoke about their struggles, or of their triumphs and tribulations,” she says.

In an industry that dotes over its male actors, is Haasan often dissuaded by the lack of parity? “I never forget the fact that I am privileged. In India, we still don’t have proper health or sanitation for girls, or access to education and clean water. When I look at it through that lens, I feel, those are the first things that we should be speaking about. I have focused on raising awareness about the larger good and questioning patriarchy.”

The actor, who fronts the Hollywood movie, The Eye, admits that she often finds herself juggling between choosing promising opportunities, and raising her voice against discrimination. “I have also been part of films where my roles have been cut at the editing table, or have been seen as the second lead to the man. But, when I get the opportunity to do female-driven subjects, I will do them.”

There can’t be a better platform than the Cannes Film Festival to showcase the contribution of women in movies. The Celebration of Women in Cinema, an annual event held by the Red Sea Festival and Vanity Fair at Cannes, recognizes and lauds female artistes in front of and behind the camera. 

This year, Bollywood actor Sara Ali Khan has been chosen to represent India at the event. She will be joined by Nigerian writer Jade Osiberu, Egyptian model Tara Emad, Lebanese actor Razane Jammal, and actor Mila Al-Zahrani at the May 18 do. Saudi Arabian filmmaker-actor Fatima Al-Banawi, who has fronted Barakah Meets Barakah (2016) and Paranormal (2020), will be the key speaker.

Khan, who will be making her debut at the French Riviera, headed to France on Monday night. Gina Shetty, founder-CEO of Stellar Entertainment, says that the actor has emerged as a promising talent in Hindi cinema in her five-year career so far.

“The purpose of this event is to promote women filmmakers, producers, actors, and writers, and [enable] them to bring their A-game. They change the landscape with their continued work. I proposed Sara’s name to Vanity Fair and Red Sea, and they were happy to honour her because she represents the future of Indian cinema.” During her three-day visit, Khan will give a speech on the role of women in cinema.

She was crowned Miss World in 2017. Now, actor Manushi Chhillar is all set to represent India once again on a global stage — at this year’s Cannes Film Festival.

“I didn’t realise the representing bit!” she tells us, adding, “If you talk about the film industry, there was a time when you would only have a few Indian actors go for these festivals (like Cannes). It is good that the numbers have been growing and there is more interest in this part of the world. I’m happy to see more representation from India.”

Chhillar made her big screen debut last year with Akshay Kumar-starrer Samrat Prithviraj, but it did not perform too well at the box office. However, the film helped her bag work. She will be seen alongside actor John Abraham in Tehran and may team up with Kumar for Bade Miyan Chote Miyan. But, no official announcement has been made yet.

“After Prithviraj, things have started rolling. There was a big pause because of the pandemic; we couldn’t shoot. So, I made my acting debut after a long wait. I’ve been fortunate to have got fame even before the film released, because of Miss World. My work generally was slow because of the (Coronavirus pandemic) situation, like everyone else’s. There’s so much you learn after your first film releases,” she says.

“Your first film chooses you, but you choose your second film. That’s really tough,” adds Chhillar, who turned 26 yesterday. “I have taken a small break to spend time with my family. I am a private person, but big on birthdays,” she laughs.

So what if Rahul Roy has barely recuperated after a brain stroke and begun to speak properly? The happiness in him is evident when you talk to him about his film Agra, which is set to have a world premiere at the Cannes Film Festival.

“It was very good news. Mujhe bahut pehle se yeh karna tha — something for myself. Now it has all fallen into place. I have done 60 films but this is the most fantastic one,” he exclaims.

Roy feels that having made his debut with the widely loved romantic musical Aashiqui (1990) always led to him being boxed as fit for a specific kind of character. “[Filmmakers] didn’t explore my talent. I don’t think that was done. Hopefully, now it will be. Whatever is being offered to me at this moment is good. I just had a brain stroke, the situation was very bad. But slowly, I am back to working now. I have been telling everyone that I am back to the grind,” says the Junoon and Phir Teri Kahani Yaad Aayee (both 1992) actor.

The filming of Agra, directed by Kanu Behl, took three years to complete. “I’ve been shooting for it very slowly, because of my recovery and also the pandemic. It was very difficult to shoot during those times. I can’t talk much about my role, but you would have never seen me in such a character before,” he says.

Will he be travelling to Cannes for the premiere, if his health permits? “Of course, yes!” he ends.

Having one’s feature screen in the prestigious section of Directors’ Fortnight at the Cannes Film Festival is a matter of pride. But to director Kanu Behl, the upcoming première of Agra at the French Riviera is the means to an end. “The biggest reason for feeling good is because I know that the film is one step closer to reaching the audiences in India,” beams Behl, whose last feature film, Titli (2015), premièred at the Un Certain Regard section of the 2014 Cannes Film Festival.

Behl’s films are divorced from the mainstream, frothy offerings of Bollywood. This knowledge has come to him with the realization that his movies will need a festival endorsement to see the light of day in India.

“I am clearly not Bollywood. There is a certain kind of film that gets financed here through a certain structure. Unfortunately, there is no commercial structure for the cinema I subscribe to, and hope a certain audience would want to engage with. So, a film festival debut becomes a necessary component in the journey of such a movie,” he explains.

Starring Rahul Roy and Priyanka Bose, Agra is described as an exploration of sexual dynamics within a family. The director believes that the movie tackles an urgent subject.

“After Titli released, I asked myself, ‘What do I want to talk about?’ That’s when I realized there was a part of me, which I had felt over the years, but not expressed. Like me, I had seen a lot of young men who had felt this repression. It made me question the presence of sexuality and desire within our lives in the specific cultural context of our country.”