Released in the first week of January 2011, No One Killed Jessica became a film audiences returned to each time the case saw a new turn. At the time, director Raj Kumar Gupta was warned that January releases rarely worked and that films led by women didn’t work – his had two. Yet the filmmaker says his faith in the film never wavered, a belief shared by everyone involved in the project.

A decade and a half on, the film remains iconic – for its hard-hitting subject, its authentic portrait of Delhi, its grounded courtroom sequences, and for helping open doors to female-led cinema at the time. Raj Kumar Gupta, who also wrote the film, looks back at the project that quietly reshaped the space for women-centric narratives in Hindi cinema.

“I wanted to tell the story, there was no agenda,” asserts Raj, adding, “I chose to tell it through the eyes of the two protagonists. One was Sabrina’s perspective and another perspective came from a character (of Rani Mukerji) who represented the media and, more broadly, the people who were seeking justice – those who wanted to see that justice was done. That is how the narrative came together. My approach was to stay focused on these viewpoints. Of course, many other characters came in and out of the story, but the core always remained centered on these two perspectives.”

Raj says, “When this incident happened in 1999, I was in college, so I remember it very clearly. This case was stuck in my head. Later, when we were discussing possible subjects, it came up again, and I felt it was something worth pursuing. I had lived in Delhi during my graduation, I had seen the city up close, and I had a certain point of view – both about Delhi and about the case. That perspective is what brought everything together.”

He reflects, “It was a long and hard-fought battle for justice, and that was deeply inspiring – a sister who refused to give up, who kept fighting for justice. The way the media and others collectively came together to support the cause was also powerful. This reflects society at large and is inspired by real events, and that is what ultimately compelled me to tell it.”

For the character of Jessica, Raj shares that he had Myra in mind. He says, “She was my friend. I also clearly remember the iconic smile of the real Jessica – I could see that smile in Myra, and that was extremely important for me to get it right. Although it was her first film, Myra did a great job in it.”

Raj recalls, “While we were shooting the first party sequence, it was one of the most complex scenes in the film not just technically, but emotionally as well. In many ways, the entire argument of the film rests on that scene. How it was shot was crucial, because later in the film, this is the very sequence that would be discussed in the courtroom.”

Raj Kumar Gupta wanted to shoot the film largely on real locations in Delhi. He says, "Delhi had a certain grit, a certain rawness, and that feeling was essential to the film. We had to have Delhi in the film. In many ways, Delhi itself was a character in the story. In the opening of the film, we talk about Delhi almost as if it’s a living presence."

Because of that, it was important for me to shoot across the city and the film was shot at locations like ITO, Tees Hazari, the streets of Delhi, Chandni Chowk, and other real locations.

He says, "I wanted the film to feel as authentic as possible, to be filmed in the real spaces where these events unfolded."

Back in 2006, on Republic Day, Rang De Basanti hit the screens and gave Indian cinema one of its most unforgettable protest scenes. A couple of weeks later, what India witnessed was the RDB effect when the film served as a catalyst for civic justice in the Jessica Lal case when thousands of people, including students, gathered for a candlelight rally at India Gate.

Raj Kumar Gupta shares, "While there are many places in Delhi, when we have to think of a place in Delhi, we think of India Gate. It became a place of collective rebellion. In No One Killed Jessica, we incorporated the protest at India Gate because in reality, people protested at India Gate after Manu's acquittal. I think India Gate is one of the locations in Delhi which evokes strong emotions."

He shares, "India Gate scene was the climax of the film. That sequence had a very strong emotional arc, and logistically it was a huge challenge. We were shooting at India Gate and had permission only for certain hours. On the same day, there was a major sports event happening, so teams were being shuttled through the area. That meant we had to finish the shoot within a very tight time frame. There was also a massive crowd present during the shoot, which added to the difficulty. Despite all that, the sequence was extremely emotional. It was designed to represent the end of the film through a song, and the light, the atmosphere, and the setting all had to come together perfectly. The challenges were many - managing the crowd, executing the scene within the limited time, and ensuring that the emotional weight came through. Most of the characters seen in that sequence are people the audience has already watched fighting for justice throughout the film - friends, supporters, and allies, so it was important to bring them together in a way that felt truthful and earned."

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"The story is about hope and justice. In real life also, people came together and justice was done. The story itself is driven by a tragedy; it should not have happened. I wanted to tell the story in a format where the story never goes dark. It was a very conscious effort. We were telling the story about real people. Life is about hope. The world runs on hope. I took a hard-hitting approach, but I also took an approach where it never gets too heavy to handle." - Raj Kumar Gupta

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Raj Kumar Gupta says, "Vidya and Rani come from different schools of acting. Vidya is very meticulous; she prepares for her character and is very methodical about her approach. With Rani, she is very spontaneous. You will not believe that five minutes back, she was laughing and joking. I got to work with two contrasting and opposite actors, and the character was also such that it gave me a wide range. Vidya Balan met Sabrina, but not before the film."

Every year, the Republic Day parade begins at Rashtrapati Bhawan and proceeds towards India Gate. India Gate isn’t just an iconic location for Delhi but also for cinema. Back in 2006, on Republic Day, Rang De Basanti hit the screens and gave Indian cinema one of its most unforgettable protest scenes. A scene that still gives goosebumps to audiences – no shouting slogans, no waving banners, no chaos – just a crowd holding candles in silence.

The scene became a cultural phenomenon both onscreen and off-screen, inspiring many real-life protests at the site.

Since 2006, India Gate’s relevance as a protest site has been depicted in several films, including No One Killed Jessica, Raanjhanaa, as well as in the web series Delhi Crime. Ahead of Republic Day, we speak to directors to understand what keeps India Gate’s cinematic relevance alive.

Rakeysh Omprakash Mehra grew up in Delhi and attended Bal Bharati School. Talking about the protest scene in Rang De Basanti at India Gate, he says, “The entire area of India Gate and Rajpath has always been in my consciousness. It had a different meaning. I remember, in the 9th standard, I was part of the Republic Day parade. We were always mesmerized by the jawans who would stand there like a statue, without moving. Each brick has the names of martyrs from British India. I’ve always been drawn to India Gate because of the importance it holds for us. To me, India Gate also represents the Amar Jawan Jyoti.”

Talking about Rang De Basanti, which took inspiration from the real-life incidents where Air Force pilots lost their lives, he says, “In reality, when those pilots sacrificed their lives, nobody protested. I think it’s the duty of civil society to raise their voice. Everybody can’t just sit on the fence and point fingers this doesn’t work, and that doesn’t work. It is our responsibility to raise a voice, and it is very important. In Rang De Basanti, when we lose the Air Force pilot played by R Madhavan, his mother and his friends wanted justice, so they held a silent protest at India Gate. I was drawn to India Gate because of the importance it holds.”

Raj Kumar Gupta, the director of No One Killed Jessica, who also studied in Delhi, says that India Gate is the iconic place that defines Delhi. He showed India Gate as a protest site in No One Killed Jessica because it was the actual location of protests in the real case.

He explains, “Of course, Jantar Mantar was the place for protests in Delhi and still is. But India Gate very organically became a protest site after Rang De Basanti. Films only work as a catalyst; it was the people who made it the spot. While there are many iconic places in Delhi, India Gate is the first that comes to our minds. Over the years, India Gate has become a place of collective rebellion. It evokes strong emotions.”

He adds, “Democracy is about people’s voice, and one must speak against injustice. Over the years, with films using the imagery of a protest in the backdrop of India Gate, it has now become a symbol of the people’s voice. Besides, the monument has its own value.”

Aparshakti Khurana knows the coolest places to eat, irrespective of the city he is in. A self-confessed foodie, the actor shares he has a list of places that he makes sure to visit whenever he’s in Delhi, Chandigarh or any other city to indulge his tastebuds. During his recent visit to the capital, we took the Jubilee actor – who has lived in the capital in the past – to India Gate, for a walk down the memory lane.

He says, "I'd like people to come to India Gate to have barf wali chuski. As a kid, I'd visit my cousins here in Delhi. Yahan aake hum sab picnic karte thay aur ghar se jeera loo, paranthe laake chai ke saath khate thay."

Although he had a sore throat, Aparshakti managed to finish a cola ice cream with us. “Yeh toh main tab kha raha hoon jab mera gala kharab hai,” he playfully says.

Aparshakti says his romance with food started when he was in Class IV. Sharing an anecdote from his childhood, he tells us, “I clearly remember entering the kitchen and realizing my love for food. It started when my mother gave me besan ki sabzi for school one day. Jab main woh sabzi school le kar gaya, saare dost ladh padhe last bite ke liye. These were my best friends; we always played together, but this group of sportspeople was made up of foodies!”

The actor says he’s willing to charge half his remuneration for a film if he’s ever offered a movie on food. “It will be my happy hour,” he chuckles, dding, “You need to find your happy space in life. Success and satisfaction ussi ko kehte hain when you are happy with your little things. Kon rok sakta hai mujhe chaat ya phir mummy ke haath se bana khaana khane se?”

Your diet, we pipe in. “Oh, you can manage. You just need to plan your diet accordingly. My trainer often tells me, ‘We are not aiming for six-pack abs; woh tab karenge jab koi specific project hoga’. Aap mujhe abhi kahenge ki GK jana hai palak patte ki chaat khane, main running karte hua jaunga. That’s the kind of fitness I have. I workout every day, I run or play (football) every day to keep fit,” he says.

The Stree actor, however, is quick to share that he abhors viral but bizarre food combos like Maggi milkshake or gulab jamun burger. “I hate such combinations. It’s like recreating and rehashing new songs! Don’t do it! Uske kuch fans hai, following hai, kuch log emotionally attached hai unn legends ke saath. A good fusion is always welcome, lekin creativity ke naam pe hum kuch zyada hi bizarre ho jaate hain. Classics ko aap matt chedhiye – be it in films, food or music.”