Kani Kusruti, who returned to Kochi after the prestigious win at the Cannes Film Festival for Payal Kapadia directorial All We Imagine As Light, says what she loved the most about Cannes was “how it celebrated the directors, and rightfully so”. “A film is ultimately the director’s baby and the director deserves to be the main star. I was very happy with that,” says the actress. Excerpts from an interview:

The best thing for me about being there on the world stage was that I was there with my co-actors and crew, most of whom were women. It was a message to the entire world that we have arrived, that we see you and that you all can do it, too. I thought of all the amazing female actors and directors, and this was for all of us. I genuinely loved the audience of our film there. That mattered a lot and most of the people who saw our film loved it.

Director Greta Gerwig, who was the president of the Cannes jury, hugged me at the after-party for the award ceremony. All the artistes there had a warmth and love towards us.

I don’t see roles as big and small. All roles are equally important. If it’s an interesting part, then great. Unfortunately, I am not in a place where I can pick and choose my films as I want. My first priority, for now, is to be financially independent. Step by step, I am trying to be part of the right stories. The sort of films I want to be part of need to have an amazing story to tell, a good director and crew. In future, I’d like to do more things that resonate with my beliefs.

Malayalam cinema has always been amazing, except for the dip from the late ’90s to 2010. In the ’70s, ’80s and ’90s, Malayalam has had great actors, directors and films. There was the issue of patriarchal outlook and views in some cases, but many had great stories to tell. Then, in the late ’90s, the stories were underwhelming. From the end of 2010 to now, I feel, Malayalam cinema has diverse stories to showcase once again. We are also more aware of having better stories with more diversity. I am very proud of most of the directors, actors and scriptwriters in the industry.

I don’t think I’m being offered only a certain kind of role. I did OK Computer, Killer Soup and Girls Will Be Girls, which are all different from the other. But, like every actor, I would like more variety. That said, even when some characters are similar, I see it as a challenge. I try and make these similar roles different each time. Most times, I feel I have failed. I sometimes wonder what I will do if all the roles I am offered in future are that of a police officer. How will I play them?

My parents didn’t want to state my caste or religion when they enrolled me at school. The teachers and administration found it a bit difficult to accept. They said I should at least have a last name. My mother had to give in and gave my initial as K. When I grew up, I asked my parents, what the K was for? My parents would answer with random Malayalam words, such as Kusruti or Kundamandi (both meaning mischievous). And I thought Kusruti works. I feel it suits me, because I am still mischievous. If I am alive at 90, it will be very funny.

Many people were happy about the Palestinian solidarity gesture. Artistes there were representing other causes, too. A lot of people came over to me and expressed their solidarity.

The dance on the red carpet was spontaneous. They asked us which song should be played when we walked the red carpet. I think Payal requested a very old film song, which we had used in the film as well. It gave us a chance to express our joy and we ended up dancing.

If something comes a close second to his love for filmmaking, it’s his love for film festivals. Since May, Anurag Kashyap has been doing the festival rounds with Kennedy, the latest being at the Indian Film Festival of Melbourne. For someone whose latest movie got a standing ovation at the Cannes Film Festival, does he harbour fears as a filmmaker?

“My producers feel the pressure because my movies don’t make enough money for them. I do what I want to do. I work with people who are available. I don’t have access to stars. Also, there’s a persistent fear that I may make a Bombay Velvet [2015] again. When you don’t have stars, the resources are limited and you get a free hand with the story,” smiles Kashyap.

It’s true for Kennedy. The noir thriller was originally written for Tamil superstar Vikram, even borrowing the title from his nickname. But things didn’t work out, and Kashyap went on to cast his Ugly (2014) actor Rahul Bhat.

“I can’t chase stars. I don’t want to pressure anyone to do a film, I want them to joyfully submit to it. I reach out to stars, but if they say, ‘Pata nahin,’ I don’t pester them. Rahul did Kennedy because he trusts me. Vikram keeps changing his number. When he was shooting for Ponniyin Selvan 1, Sobhita [Dhulipala] told him that I reached out to him. [That’s when] we figured out that I texted him on a number that was three years old. My cast was locked by the time Vikram reached out to us, but he gave his blessings.” 

Another quality that is common to most Kashyap films is their political undertones, his last offering Almost Pyaar With DJ Mohabbat being a prime example. “All my films factor in the social context of its milieu. Almost Pyaar has strong social undertones. But I am not deliberately trying to make a political film. Politics will seep in naturally, given the setting. Kennedy is set during COVID-19, so it reflects its times.”

It has been a rich 25-year run at the movies for Kashyap. As an artiste, how does he view the current stage of his career? “I’m at a stage where I don’t feel the need to compete with anyone. People want to box me, but I like every genre. I loved Rocky Aur Rani Kii Prem Kahaani. I loved Barbie more than Oppenheimer. Christopher Nolan delivered what’s expected out of a film, but Greta Gerwig delivered something novel with a doll! I fight to keep creativity soaring in filmmaking.”