It’s always special to reunite with your maiden film’s co-stars. Working on Anarth then was wonderful for Gulshan Devaiah as he shared the frame again with Kalki Koechlin, his co-star from That Girl in Yellow Boots (2010). Teaming up with the actor for the upcoming Prime Video series a decade after their last outing, A Death in the Gunj (2016), Devaiah described her as a “constant” in his life.

“Apart from Anurag [Kashyap], Kalki has been a constant in my career. We have finished shooting for Anarth. I really enjoyed working with her. We shot in Kolkata,” Devaiah smiled.

Reunions weren’t the only flavour of creator Ananya Banerjee’s series. Anarth also marked new collaborations for Devaiah in the form of co-stars Parambrata Chattopadhyay and Preeti Panigrahi of Girls Will Be Girls (2024) fame. “I had never met Parambrata before. I got to hang with him in Kolkata, and that was nice,” he shared.

The actor has the most scenes with Panigrahi in the horror drama, and he has walked away deeply impressed by his co-star.

“She is such a wonderful actor. She is young, but an old soul. She is also an artiste — outside of acting, she is into sketching. I had only seen her in Girls Will Be Girls, but here, I got to know her and make a new friend. I enjoyed working on this series. As I always say, if I don’t enjoy myself, then I have made the wrong choice.”

At a time when the lines between mainstream and independent cinema continue to blur, casting choices have become a key point of debate within the industry. Actress-producer Richa Chadha has weighed in on the conversation, questioning the growing tendency of independent films casting commercial faces even when they can’t guarantee box office or add meaningful value on the festival circuit.

Highlighting what she sees as a contradiction in the way indie projects are being mounted today, the actress says, “If an actor isn’t opening a film theatrically on a Friday and doesn’t add any real weight at festivals, then what exactly is the advantage of casting them in an independent film?”

Richa, who backed the Indian- French co-production Girls Will Be Girls which premiered at the 2024 Sundance Film Festival, also points to the economic reality behind such decisions.

She says, “I am not suggesting anything, but with trained actors, you are at least assured that performance quality will be maintained. There is a commerce behind indie films too. Some stories don’t need big faces to pull crowds. It is more economical to sign on an actor who brings credibility without creating a huge hole in the budget. Without taking away from any actor’s ability or worth, if indie films are to truly survive in 2026, we have to understand that audiences want quality stories with credible actors, and filmmakers do not want to put a strain on the budget.”

Drawing from the past, she adds, “In the 1980s, we had a thriving indie cinema movement, and actors like Farooq Sheikh, Amol Palekar and Shabana Azmi were stars in their own right. That space has disappeared today. If the industry continues to wait for a nod from a handful of top male actors, on whose already tired and busy shoulders films are mounted, all the best to you. There won’t be enough output.”

With their maiden production Girls Will Be Girls (2024), Richa Chadha and Ali Fazal showed that they are here to tell meaningful stories. But their storytelling doesn’t have to be restricted to the fiction space. The duo’s next production will be a yet-untitled non-fiction series that will explore different regions, communities, and traditions across India.

A source revealed, “The series will focus on everyday stories, local histories, and cultural practices, offering a well-rounded look at the country.” So far, the crew has shot in parts of Mumbai, and will soon move to other cities and towns.

Although Chadha remained tight-lipped about the format and platform, she said the idea of the series was born from the couple’s curiosity about the country and the world at large.

She shared, “I’ve always believed that stories exist everywhere — in people, places, and cultures we’ve never paused to understand. With this series, I want to explore that world with curiosity and compassion. As an artiste, it’s important to keep experimenting. Girls Will Be Girls was my first step in that direction as a producer, and this new series is another leap into a space that excites me. I’m eager to bring real stories of travel, heritage, and human connection to life.”

It’s a joy to see two of last year’s standout debutant actors come together. Laapataa Ladies’ (2024) find Sparsh Shrivastava and Preeti Panigrahi of Girls Will Be Girls (2024) fame have teamed up for Ji huzoor, a single that marks Shrivastava’s debut as singer, songwriter and composer. The actor-singer says that he has dabbled in songwriting for the past few years. “Music began as a way to escape the chaos we all go through, during different phases of life. Songwriting became my me-time,” says Shrivastava.

After years of creating music for himself, the actor now feels confident to share his work with the world. Considering Ji Huzoor is his first single, Shrivastava admits it comes with immense pressure. “Firsts are special, and with that comes the pressure of wanting everything to be right. That inner conflict and the pressure to create something honest is a challenge I often face. But hopefully, the love and intention we’ve put into Ji Huzoor will resonate with people. My first single reflects how I experience love. When I fall in love, the person becomes my entire world, and everything else fades into the background,” he shares.

Shrivastava was only too happy to work with Panigrahi as they told the story of a young couple heady in love. “I’ve been Preeti’s fan since I watched Girls Will Be Girls. When the team suggested her name, I was immediately convinced. We didn’t get much time to get to know each other before the shoot, but we connected naturally, and that ease translated on camera. We helped each other through the scenes, and the mutual trust made the process more fulfilling.”

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He might have won acclaim for his performance in Laapataa Ladies (2023), but along with acting, Sparsh Shrivastava’s heart beats for dance and music as well. In fact, not many know that he started off his career in the entertainment industry as the winner of a dance reality show.

“Acting, dance and music are a perfect combination, and it has shaped up in the most beautiful way I could have thought of,” says the Jamtara — Sabka Number Ayega (2020) and Collar Bomb (2021) actor, who is all set to release his debut single on his YouTube channel.

Along with singing, the 25-year-old has also written and composed the track, titled Ji Huzoor. He shares, “I started working on my songs over eight years ago, but it’s only now that I have found maturity in my writing and compositions.”

Sparsh says that he’d like to focus on music and dance as well, in the future. He already has more songs lined up for release: “Once I establish my musical talent, I will showcase more of my dancing skills. I am looking forward to collaborations and even playback singing. It will be wonderful to hear my voice on other actors.”

He says that his talents are all inborn. “I am not a trained dancer, though I have learnt a lot from my mother. For acting and music, too, I did not receive any formal training,” he signs off.

Recently, filmmaker Hansal Mehta said at an event that filmmakers in the Hindi film industry need to take risks and cast new faces. Ask actor Richa Chadha if things are more challenging for newcomers today, and she says, “When I started out, it was difficult. But today, youngsters have social media, so there’s an added benefit. In 2012-13, social media wasn’t as prevalent.”

Richa, who turned producer last year with Girls Will Be Girls, adds, “We should give more chances to newcomers, but sadly, even established filmmakers in Bollywood tend to stereotype actors. Somewhere, the math of the business doesn’t allow us to take chances. And it’s not only limited to the actors, but also filmmakers.”

Lately, many filmmakers, including Anurag Kashyap and Vivek Ranjan Agnihotri, have also spoken about the need for Bollywood to reinvent. Mention this to Richa and she shares, “When a big film with a big star flops, everyone wants to become safer. They want to have an item song and a certain number of action sequences. But over time, you realise that innovation is the heart of any industry. The film industries in the South have managed to crack how their films work. We can learn from them.”

The 38-year-old adds, “They make movies for their own fans and ensure that the ticket prices are low. Yahan par sab ulta hai. When a film is big and there’s anticipation, people increase the ticket prices.”

With Girls Will Be Girls (2024) giving us three new talents in actors Preeti Panigrahi, Kesav Binoy Kiran and director Shuchi Talati, the industry has been keen to see their next few steps. Kiran—who played the manipulative teenager, Sri, in the coming-of-age film—has already shot his second feature, titled Saanvi. Helmed by Indian-American filmmaker Arun Konda, the crime drama sees the actor play Raghunandan Yandamuri, who, in 2014, became the first Indian-American to be sentenced to death in the United States. The thriller chronicles how Yandamuri, in October 2012, had murdered a 61-year-old Indian woman and her 10-month-old granddaughter.

Konda approached Kiran at the Indian Film Festival of Los Angeles’ screening of Girls Will Be Girls for the role of the techie-turned-murderer. “It felt unreal at first when I was asked to audition for the role of a 26-year-old married man, who had been sentenced to death. I couldn’t draw any similarities [between the character and me]. Though I was gung-ho about it, I was scared too,” recalls the actor.

Saanvi was shot in the US last November and is currently in post-production. The process of becoming Yandamuri for the screen has been exhilarating for Kiran. “I had to do intense research to understand his psyche. The acting workshops, Navarasa Sadhana, and at Adishakti Theatre, that I did in the two years after Girls Will Be Girls’ shoot helped me find a direction,” he says.

Yandamuri is an engineer, who, in 2014, was convicted of the 2012 double murder of 61-year-old Satyavathi Venna and her 10-month-old granddaughter Saanvi. The first Indian-American to be given the capital punishment in the US, he is currently imprisoned at the State Correctional Institute in Somerset, Pennsylvania.

2024 was a standout year for India’s female directors in the film festival circuit. The highlight of the past year was All We Imagine As Light’s two Golden Globe nominations – while the film didn’t win, it came very close to making history. However, despite better representation and support, women directors say there’s still a long way to go when it comes to celebrating the female gaze in the film festival space.

Deepti Dcunha, artistic director MAMI Mumbai Film Festival, says, “MAMI has had a great ratio of female filmmakers over the years, and in 2024 specially. When we are programming or constituting our selection committee, we ensure that we do have a conversation about giving a platform to directors who are otherwise discriminated against. But at the same time, it is not that a director is only selected because she is a woman.”

In 2023, the percentage of films directed by female filmmakers in the fest was 2%, which changed to around 25% in 2024. Out of 45 feature films screened at the Dharamshala International Film Festival (DIFF), 24 were directed by women.

Festival co-founder Ritu Sarin tells us, “All films are selected on merit, which is why the fact that 24 out of 45 feature films were directed by women is an incredible milestone. It demonstrates that women filmmakers have always been capable of making high quality cinema but are finally finding the recognition and support they deserve.”

Talking about providing this support and recognition at one of the biggest film festivals in India, International Film Festival of India’s Associate Film Programmer, Kanika Katyal, says, ‘‘The programming was done in such a way that we ensured gender parity in the curation, especially in the competition. A broad range of films were offered to the selection committee to choose from which were directed by women filmmakers. This would ensure that enough films from female filmmakers and also other diverse options made it to the competition.”

About the change in numbers at IFFI 2024, she adds, “We have had nine female directed films out of 15 in the main Golden Peacock Award. That comes to 60%, which is a rare occurrence. How often do you see that happen in a film festival?”

Even after these recognitions at the film festivals, taking a female directed film for distribution, release in the male dominant space is still a challenge.

Vaidaangi Sharma, whose film Chhat was screened at MAMI, says, “I am just waiting for the day when there are more women in the distributor room. It’s not easy to go into a room full of men and try to sell your film. What has happened with All We Imagine As Light is difficult to happen with a purely independent regional film made here in India. Distribution for a festival film is very small, specially for a female directors’ film.”

Adding to this insensitivity that sometimes female filmmakers have to go through in this country, Prachee Bajania tells us, “At my panel at MAMI, a man walked up to me and said if everyone is going to talk about women now then who is going to talk about men, and I told him that there has been so much conversation around men that I don’t know why it should even be a concern now. We have seen this happen a lot in popular media in India. Thankfully the audience at the festivals is niche so it changes the dynamics there.”

Prachee Bajania, whose film Umbro won Best Documentary at Beijing International Film Festival and was screened at DIFF, says, “Seeing festivals prioritize female-directed films not just for representation or tokenism but for the unique narratives women bring to the screen is encouraging. It’s not just about these being films made by female filmmakers — it’s also about the importance of the stories they tell, which might be why they are being selected.”

Talking about these stories bringing a female gaze to the film festivals, Farha Khatun, a two-time National Award-winning filmmaker and jury member at Kolkata International Film Festival, feels, “I saw Payal’s film and you can notice that when a female director tells a story, it’s a very different perspective. But because we are so used to seeing a man’s perspective in cinema, it is taking us time to accept this. And now I feel these nuances are finally being picked up with the selection of more such films at Indian film festivals.”

Nidhi Saxena, who was the first female filmmaker from India to win the prestigious Asian Cinema Fund 2024 and had her film screened at DIFF in 2024, says, “It was interesting to see people watch the film from a female gaze and have so many women appreciate and relate to it. I felt it was a newfound sisterhood at these festivals for me this year. Women filmmakers today are trying to not just find new stories but also new form and narrative for their stories.”

Over the past year, female directed films like Payal Kapadia’s All We Imagine As Light, Shuchi Talati’s Girls Will Be Girls, and Kiran Rao’s Laapataa Ladies have earned nominations and awards at prestigious events such as Cannes and Sundance. While some female filmmakers feel this progress is insufficient to bring lasting change to Indian film festivals, others view it as a ray of hope.

DIFF co-founder Ritu Sarin says, “Over the past few years, there has been a growing awareness in the global film industry that women filmmakers were being discriminated against, and consequently, a conscious push to redress this imbalance. Although this signals a shift in perception, the film industry is still largely a male-dominated one, and systemic change will take time.”

Deepti Dcunha, Artistic Director MAMI, also resonates with the sentiment as she says, “We are still looking at what the west is validating as a good film, when it comes to programming. When we see them make a conscious decision of being more inclusive, with women directors, women jury members, it trickles down here as well, leading to a better representation.”

Kani Kusruti says she is happiest at home with her plants in Goa, practicing the sitar - a routine that got disrupted due to the year-round celebrations of All We Imagine As Light and Girls Will Be Girls, two internationally critically acclaimed films she was part of this year.

Kani says, "I think this is mostly the first time I felt there was more celebration than work. I feel it’s very disproportionate in terms of celebration - it’s like too much celebration. I’ve never had a year like this."

Kani shares, "I will honestly say, I don't think acting is really my cup of tea. I just happened to become an actor at a young age, and I ended up practicing it and continuing with it. I have many fellow actors and colleagues from Kerala, theater, and elsewhere who are way more talented, passionate about acting, and hardworking than I am. But, like in every field, especially in cinema, I think sometimes people get picked up by chance rather than the most deserving ones."

She continues, "Payal is a really nice person, a good director, and it was a great team. So, I loved working on Payal's film. Some projects come along like that, and I feel truly happy about the way we work together. But when I talk to other actors, I know they feel very happy just acting alone, just being able to play a character - they're genuinely happy. I don't have that kind of happiness. For me, happiness comes when the team is great or when we enjoy the process. I find joy in other things, like the stories we tell, not necessarily in my character."

"I thought maybe Payal reached out to me for a diploma film at FTII, didn't know it was feature film." Payal contacted Kani Kusruti for the film when she was studying at FTII. Over the years, Kani has seen different drafts of All We Imagine As Light. Payal initially offered her younger part and years later when the project was finalized she ended up doing the elder nurse role."

Today, it's understandable when someone is excited to work with Grand Prix winner Payal Kapadia. But back then, when she was just a film school student, what was it about her that made you look forward to working with her? Kani says, "It was not so much about the character for me. Why should women bear the burden of making only good films and proving themselves constantly? They should be able to make bad films too."

Kani has worked with many female directors. She says that she didn’t plan it; it just naturally happened. She says, "I’m just very happy every time it’s a female director - I feel a different kind of happiness. Maybe it’s because I’m a woman in India, and when I see female directors coming up, I already feel a sense of joy. It’s like, 'Oh, who is she? How is she thinking?' You also feel a little safer and that you can express yourself. I’m not saying all women directors are always going to be nice and amazing- not necessarily. In fact, true diversity will come when more women enter the field. Then, we’ll have all kinds of films - even bad films - made by women. Why should women bear the burden of making only good films and proving themselves constantly? They should be able to make bad films too, just like everyone else."

Kani says that the female directors who have helmed projects in the last 10 years, whether in commercial cinema or other sections, have really paved their own paths by putting in a lot of work on themselves. She says, "I believe these women are slightly exceptional in some way, which is why they’ve reached where they are today. It’s not an easy journey. They’ve worked hard, and some may have had certain privileges, but they’ve earned their place."

She says, "I’m sure male gazes and patriarchal perspectives may sometimes come from female directors too. Most female directors I’ve worked with have been kind, collaborative, and understanding. They created environments where we felt safe. And it’s not just about female directors - the sets are often run by women. Right now, we mostly talk about two genders, women and men, but there are many genders. When the industry becomes more inclusive of all genders, I think everyone will feel safe. I believe all artists, regardless of gender, have to work hard on themselves to create a healthy workspace. I consider myself fortunate that most of the male directors I’ve worked with were also good, with only a few exceptions where I felt the working environment wasn’t healthy. Most of the male and female directors I’ve collaborated with have had good spirits. However, there have been instances where I worked with female directors and felt that the workspace wasn’t ideal. So, it’s not exclusive to one gender. Creating a positive and healthy working environment is everyone’s responsibility."

What does she mean by a healthy working space? Kani explains, "What I meant by a healthy workspace is that there are often different kinds of abuses that happen- taking people for granted, exploiting their time excessively, underpaying them, making them work overtime, not providing proper contracts, or verbal abuses that sometimes occur during shooting. We have many such practices in India. I understand that someone may get angry once during a 60-day shoot. People are under stress - that much I can understand. Everyone is human. But when such behaviour becomes a habit is what is a problem. For example, an A-list actor might receive better treatment, while others don’t. Everyone should be treated equally. That’s what I meant by a healthy workspace."

Kani says that it is normal that people may occasionally misbehave, but that’s not the only issue. There are entrenched hierarchical and unethical practices in workspaces that need to be removed. She shares that fortunately, the next generation is already bringing in new ideas, and she is hopeful things will change. However, even when people don’t intend to misbehave, bad workspace practices and lack of resources can lead to stress-induced behaviors, like shouting. She says that’s why she believes the resources of a film should be allocated properly, not just for stars. Sometimes, the allocation feels excessive - for instance, spending disproportionately on entourages.

She says, "I understand the need for one or two assistants in some cases, but often, these luxuries take away from ensuring that people, like those in lighting crews, get adequate rest. These crew members often sleep the least, leave last, and arrive first."

Kani shares, "We have a history of bad practices; how to change it, I don't know. For example, in Kerala, they are trying to have an ICC (Internal Complaints Committee), but what kind of power it can have depends on whether people are willing to consciously change and whether producers are willing to put the money in the right places to establish good ethics and practices, such as ensuring people get enough rest. Are we able to allocate money in a way that we can give everyone an ample amount of rest, proper conveyance, and good food? In Hindi projects that I’ve been a part of, I see there are different eating places. Actors eat in a separate mess with specific catering, technicians have a different one, and daily-wage artists who work on the film have another buffet. I don't understand this. It's unbelievable. That disparity is so clearly visible, even in the food. So, we have to work a lot to achieve equality and treat everyone with equality."

Payal was completely different. At the location, we were just trying to remake what we had achieved all day in the rehearsals. It was more like a theater production. Before going to the location, we already knew everything. Payal shot all that rehearsal on camera. Then she also edited it to see how it looked. So, she already made a film, which looked very similar, sometimes even with the actual costumes. Sometimes, it wasn't the actual actor, but another actor playing the role. We all felt we knew how the film was turning out because she made everyone involved in the film - like an equal collaborator

We would first rehearse, then every department would watch it. Everyone would know what the actors are going to do. Everybody is part of it. Then everyone would prep for the scene, right there, and then we would shoot the scene. Also, Shuchi had a completely different interpretation of the characters. The same dialogues were said with completely different intentions. So, I was very curious to watch Girls Will Be Girls finally because I was like, which Anila is coming out? I was also curious Is it the Anila close to the script, or the Anila that was discovered on the set? Shuchi made Anila different on set. She interpreted Anila very differently on set, so that was very interesting.

Richie is not much of a rehearsal kind of person. He'd rehearse a bit on the spot but doesn't really fix the performance exactly how he wants it. He also goes with the spontaneity and what the actor brings to the scene. Most of my scenes in Richie's series were shot with handheld cameras. So, the DOP (Director of Photography) had a free-flowing approach, following the actor's movements. The DOP also chooses which parts to focus on, and sometimes it's not your face; it might be yourzfingers or what your hands are doing. This approach brings out a different kind of performance.

“In school I was that student whom parents and friends used to tell me to work hard and study. And then, right now, I am such a front-bencher,” says Shweta Tripathi Sharma, with a hint of surprise. It’s been a great year for her as she delivered two of the OTT’s most watched shows - Yeh Kaali Kaali Ankhein and Mirzapur. After Masaan’s success, Sharma took an unusual route to fame by choosing OTT shows over big ticket commercial movies. 

“I didn’t take that quintessential path, that a heroine should be like this. I want to tell so many people that do not lose on your purpose and your intent. Because to me, that is the most important thing. Following your dreams is not going to be easy. But at least you're waking up to do what you want to do rather than just doing a job and earning money. A few days ago, I saw Richa and Ali's film, which is Girls Who Be Girls. I feel that there is a change that is happening. I'm so glad that not just me, but people around me, people that I look up to, everybody is trying to bring about a change,” she says. 

The success of two big shows have been pivotal. “I don't think a season has been ever announced so soon after. As an actor, now because it's been a few years, I can feel an energy shift. I'm feeling better because I know there is a buzz around us. And I know people want to collaborate with me. We know that Shweta is bankable. She delivers. It does matter what your relevance is. And now because of Mirzapur and Yeh Kaali Kaali Ankhein coming out this year, and the curiosity that people have and the love that the character has got, that gives me that extra power. I have got two film scripts. And both slice of life movies. I would have never imagined that after Mirzapur and Yeh Kaali Kaali Ankhein I will get a slice of life. But that is what I love. That people themselves only don't want to typecast me. There is a certain worth in the projects that come to me.”

And Mirzapur has become a feature film which will roll soon. “I'm always happy when suddenly people recognize me but I know there is a certain love that they have for me because of Golu. They love Golu and what makes me really happy is when these pretty girls wearing stockings with makeup on and hair done up they come up to me and they are big fans of that character. They don't look or feel anything like her.”

We tell her that one of the most beautiful things about Mirzapur is that fact, especially in the second season the women of power are front and center. She says the movie might be different.

“See the thing is that somewhere this is the male world. Women are not the side characters here. I know the majority are men and the power is with men. So that will reflect. So the film I think is definitely going to follow the world and writing and language of Mirzapur but I think it's going to be more of a testosterone heavy film. Now in the trailer and the teaser that we've seen we see Compounder and Munna. That means it is going to be a chapter from season one. In season one the women were part of it and in the film they will be part of it. It feels great that we are the first OTT series to be a movie but it's also a responsibility because of the love and respect we've got from the audience. The creators, especially Gurmmeet Singh, are such good human beings. I love him so much. Because they care about even an actor, the writer, even the spot boys. They will only be happy when everyone is doing well. So when you have that intention, the story will thrive and shine.”

When starting off as first-time producers three years ago, Richa Chadha and Ali Fazal knew what they were looking for. “An investor always invests in a story,” says Chadha. This search for powerful stories has resulted in Girls Will Be Girls, which dropped on Prime Video earlier this week. Before its India release, it won two awards, including the Audience Award in the World Cinema Dramatic category, at the 2024 Sundance Film Festival. With it, the world knew what Chadha did already—that director Shuchi Talati has a way with stories.

“Before this, she wrote a heart-warming children’s script. I was ready [to produce] that too. But that didn’t work out, this did,” smiles Chadha.

Girls Will Be Girls, starring Kani Kusruti and Preeti Panigrahi, tells the story of a 16-year-old girl’s complex relationship with her mother. It resonated with Fazal, who was raised in a house run by women. “I was raised by a single mother, and I saw how her relationship with her mother was bittersweet,” he says.

Despite the awards and acclaim, the film didn’t release on the big screen, instead premièring on an OTT platform. Had they expected more from this industry as first-time producers? “I expect nothing. We are no one to make demands. We will make our own way,” Chadha says defiantly. The episode has shown Fazal that the industry is not encouraging of indie films.

Which is why the actor-producer wants to do his bit to create an ecosystem. “Maybe we can own a theatre, where we screen the indie films we make and like. Why is everyone connected to the big chains? If the machinery was changed, it’d be wonderful. It’s an ambition for the future.”

The couple is now zeroing in on their next production. The one thing they expect from their collaborators is tenacity. “I don’t want lazy people. People make it look like they should be paid to brainstorm; phir humein bhi [script] sunne ke paise milne chahiye,” Chadha laughs, before adding, “I know when people are in it for the stories or for temporary glory. But we are looking for stories that will stand the test of time.”

Girls Will Be Girls stars (centre) Kani Kusruti and (right) Preeti Panigrahi

Why is that skirt so short? Why are you bending over the desk like that? Who is calling you so many times? Shuchi Talati remembers these questions being thrown at her constantly during her teenage years. Those years of being questioned and her defiance have led to her maiden feature film, Girls Will Be Girls.

“I started to make this film from a place of anger and rebellion. As teenagers, [girls] are subjected to constant policing and surveillance, which instills in them a deep shame about desire or sexuality. I wanted to tell a story about a young girl’s first romance, her sexual awakening, but treat it as a normal part of growing up. I wanted to do it in a way where the storytelling doesn’t shame it at all,” starts the director.

Girls Will Be Girls—which won two awards at the 2024 Sundance Film Festival—tells the story of 16-year-old Meera, essayed by Preeti Panigrahi, and her complex relationship with her mother, played by Kani Kusruti. Their friction only increases when the daughter’s boyfriend starts showering attention on the mother. Talati reveals that the mother’s track came to her much later.

She recalls, “The character of the mother appeared in a later draft. It was so rich because I was closer in age to the mom. I felt, ‘This woman is in her late 30s. Why should she not have desire? Why should she not have fun?’ This boy is giving her attention. Nobody else in her life did that. So, I started feeling a lot of empathy for her. The film became about the two generations of women, who are trying to break out of the box that society [imposes] on them. They are trying to subvert, circumvent, and somehow live their life with more freedom.”

She adds, “Their friction is key to our story [because initially] Meera looks down on her mother, who stays at home and seems unfulfilled. Through the film, she grows up to see her mother as a full person. That kinship comes to them eventually.”

To Talati, the movie is of much emotional value, not only because it is her first feature film, but also because it comes from a personal space.

However, she points out that it is not autobiographical in nature, as she says, “With first-time women filmmakers, people assume that they’re writing about their life. This film is deeply personal. Not because any of these things happened to me, but because I felt all of these things. For instance, Meera gets worried that her boyfriend is getting close to her mother. I have felt [a similar] insecurity when my boyfriend was talking to some girl who seemed older, cooler and more interesting. I have felt [that pang of sadness] that the mother feels when she sees that someone is going to have so many more opportunities than her.”

Filmmaking is a career that happened by chance to the Baroda-born writer-director, who was almost on her way to become a doctor. But a conversation with a friend made her realise that her calling is in the arts. It is in journalism school that she met classmate Richa Chadha, who, years later, along with actor-husband Ali Fazal, backed Girls Will Be Girls as their maiden production.

“Richa was the first person to come on board. I was pitching it at Film Bazaar at the co-production market. I called Richa as she is the only person I knew in the industry. She read the script and loved it. She said, ‘I wanted to produce for a long time. What could be better than backing one of my oldest friends’ scripts that I love!’”

In the past few weeks, All We Imagine As Light director Payal Kapadia has shed light on the challenges of indie filmmakers in India. Talati chooses to be optimistic as she gears up for her movie’s 2025 release.

“Hopefully, people will hire me to do other films. I am hoping to write something new. The thing is people misunderstand nuance. People think that a nuanced, quiet film means it’s slow and boring. But since we all observe humans all our lives, we understand nuance. So even though this film is nuanced, it’s extremely accessible,” she states.

Richa Chadha and Ali Fazal’s maiden production, Girls Will Be Girls, seems to be a gift that keeps on giving. In January, the movie, starring Kani Kusruti and Preeti Panigrahi, won two awards at the 2024 Sundance Film Festival. Now, it has been honoured with the Grand Jury Prize at two festivals—the Transilvania International Film Festival in Romania that wrapped up on June 24, and the Biarritz Film Festival in France.

As a first-time producer, Chadha is elated that Shuchi Talati’s directorial venture is resonating far and wide. “Winning the Grand Jury Prize at two festivals is a testament to the hard work and passion that everyone has poured into this project. The film is all set now for its UK and France release. We are so proud of our baby from our production house making waves across the globe. We are grateful to Shuchi and our actors for their incredible work,” she says.

Earlier slated to release by the month-end in the UK and France, Girls Will Be Girls will now première on September 20 in both countries after target groups screenings. The coming-of-age drama delves into the life of 16-year-old Mira, portrayed by Panigrahi, and her complex relationship with her mother.

The bad news is that the Writers Guild of America strike, which took place between May and September 2023, halted Ali Fazal’s productions in Hollywood. The good news is that it opened up his schedule and gave him the opportunity to be part of many Bollywood projects. The actor is now looking forward to the release of his offerings that include the third season of Mirzapur, Metro...In Dino, Thug Life alongside Kamal Hassan, and Lahore 1947.

Only days after the trailer of Mirzapur 3 was released, Fazal says that following last year’s setback, 2024 has become one of the best years of his career. “This year has turned out to be quite extraordinary for me, despite the global writers’ strike. I had to take a break from international work. But I’m thrilled to be part of Anurag sir’s film, Mani Ratnam sir’s Thug Life, as well as Lahore 1947. It gave me a chance to explore a variety of roles in a short time,” shares the actor.

While Metro...In Dino has an ensemble cast that includes Sara Ali Khan, Aditya Roy Kapur and Fatima Sana Shaikh, Rajkumar Santoshi’s film will see him share screen space with Sunny Deol and Preity Zinta.

Fazal’s pursuit for novel stories was also rewarded earlier this year when his maiden production Girls Will Be Girls bagged two awards at the Sundance Film Festival.

“We’ve also announced five other projects. Our idea is to nurture new talents and ourselves. This is also a time where we are nurturing our personal lives,” beams the actor, who is expecting his first child with actor-wife Richa Chadha.

In January, Richa Chadha and Ali Fazal tasted success as their maiden production Girls Will Be Girls bagged two awards —the Audience Award in the World Cinema Dramatic category, and Special Jury Award for Acting—at the Sundance Film Festival 2024. Now, with the festival rounds done, it’s time for them to take their film to the audience.

While Indian viewers will have to wait a while, the Kani Kusruti and Preeti Panigrahi-starrer is set to hit the marquee in France, followed by a UK release by June-end.

Director Shuchi Talati’s Girls Will Be Girls garnered attention in international circles after its double win at Sundance and its screening at the 77th Cannes Film Festival. That it is led by Kusruti, who also features in Payal Kapadia’s Grand Prix-winning film All We Imagine As Light, only fuelled further interest.

Chadha is naturally excited about the movie’s international release as she says, “It’s a moment of immense pride for us. The film’s themes are universal, and we are thrilled that audiences in France and the UK will be among the first to experience it. I can’t wait for people in India to watch it as well.”

Set in a boarding school, the drama explores the life of 16-year-old Mira, played by Panigrahi, and her tense relationship with her mother.

Despite the mixed response to Heeramandi: The Diamond Bazaar and her small role in it, Richa Chadha has walked away with wide praise for her portrayal of Lajjo, a lovelorn courtesan. How does the fame coming from a Sanjay Leela Bhansali creation impact an actor?

“It’s too early to say if it will impact me. Currently, I have domestic issues to be taken care of. I want to hire a cook, do other home-related things,” she laughs.

Something else is right on top of her to-do list—a babymoon. Chadha and her actor-husband Ali Fazal are set to welcome their firstborn in July. For someone who has been working relentlessly, Chadha now wants to take a pause and enjoy all that’s good in her life.

“I knew this character has a smaller part; yeh itne time mein aayegi aur mehfil loot ke mar jayegi. I’ve been getting a lot of love. [With the show done], I’m thinking about where I can go for a quick vacation before my travel embargo sets in. I want to take music lessons. I have been working since I was 15, I’m a workaholic. But I am more focussed on my personal life right now.”

Professionally too, things are looking up for the actor couple. While she has grabbed eyeballs with Heeramandi, Fazal began shooting for Mani Ratnam’s Thug Life last week. Does their individual success help them as they build their production house?

“Both Ali and I have credibility as performers. People who want to work with us will come regardless. A success like this is a personal win. When you come to Mumbai, stay in a one-room-kitchen and start life ground up, you dream of working with Mr Bhansali. This year, I feel good things are upon us—first the Sundance [win], Heeramandi, and things with Ali. I am also grateful we didn’t have Godfathers blessing us. All those auto rides to auditions feel sweeter now.”

Their maiden production, Girls Will Be Girls, which won two awards at the Sundance Film Festival this year, is continuing its festival run. Chadha says they are drawing up its release plans.

“We have to get the right deal to do a limited release. The film’s budget is Rs. 12 crore and P&A is Rs. 6 crore. We are discussing trade with consultants. As first-time producers, we have an award-winning film with us. We are learning and will decide on a release plan by the year-end.”

A win is always a confidence-booster. It becomes all the more significant when it comes early on in one’s journey. That has been exactly the case with Richa Chadha and Ali Fazal. The double win of their maiden production, Girls Will Be Girls, at the Sundance Film Festival 2024 has reaffirmed the actors-turned-producers’ faith in their choice of stories. Encouraged by the recognition, the duo is set to launch their slate for 2024—it includes a comedy film, a drama, a thriller and a documentary.

Chadha, who founded Pushing Buttons Studios with business partner-husband Fazal in 2021, shares that they have expedited their next few projects. “With the success and reception of Girls Will Be Girls at Sundance, we believe that the bar is set high for us. We hope to keep introducing unique stories and take Indian narratives to the global audience. We are lining up projects that are diverse, and want to work with creators who are passionate about cinema,” she says.

Starring Kani Kusruti and Preeti Panigrahi, Girls Will Be Girls explores a 16-year-old girl’s complex relationship with her mother. Shuchi Talati’s directorial venture won the Audience Award in the World Cinema Dramatic Entry category, with Panigrahi bagging the Special Jury Award. It has set the tone for Chadha and Fazal’s forthcoming projects where they don’t want to be restricted to a specific genre; instead, they want to seek out meaningful stories.

Chadha asserts, “Quality content is above all—this is the motto we start with. We have the approach of being genre-agnostic. As first-time producers, we don’t want to be limited and want to try our hand at different things that speak to us.”

Is there a greater joy for filmmakers than seeing their maiden movie winning awards? Over the weekend, Richa Chadha and Ali Fazal’s debut production, Girls Will Be Girls, clinched two awards at the Sundance Film Festival 2024—the Audience Award in the World Cinema Dramatic Entry category, and the Special Jury Award for Acting for Preeti Panigrahi.

Starring Panigrahi and Kani Kusruti, Shuchi Talati’s directorial venture revolves around a 16-year-old girl’s complex relationship with her mother. In the coming-of-age drama, Chadha and Fazal found just the kind of meaningful stories that they want to back. Their belief in championing unheard stories has been rewarded with the wins.

Chadha says, “It seems as if life is going in all directions at the same time, in a good way. I hope this gem of a film maps out its own journey.”

Actor-producer Fazal is already planning the film’s festival run. “Up next is the Gothenburg Film Festival and another festival. This win helps us dream bigger and take on some more stories that we want to push the buttons on.”

Crediting Chadha for advocating the movie, Talati says, “It’s fulfilling to see our story strike a chord with viewers and reviewers, igniting discussions about the often-overlooked coming-of-age encounters depicted on screen.”