It won’t be wrong to say that Yami Gautam Dhar is probably in the best phase of her career right now. Her recent spate of films has made filmmakers more aware of what lies untapped and how they can mould her for a variety of characters. She admits, “It took a lot of time for everyone to turn around and say, ‘We didn’t think of her in the same light’.” Now the arc lights are shining bright on her, the floor is all set, and Yami is here, bringing on her A-game. Excerpts from a conversation.

I see this whole phase as a process of evolving, and fortunately, before the pandemic struck, I had two important theatrical releases, Uri – The Surgical Strike and Bala. To get a role like the one in Bala was so different. I don’t think we have enough well-written comedy parts for actresses. These films opened up the box office, and for me, they opened avenues and gave other directors ideas on what more they could explore with me as an actor. After that, I did A Thursday, Dasvi, Chor Nikal Ke Bhaga, Lost and OMG 2. For me, the whole idea of choosing films is not about filling in some dates in my calendar and doing one film after the other. I need to feel that the work I am choosing is taking me ahead, not just from the box office point of view, though I understand that is critical, too. I need to know that the work I choose has something new to offer and the potential to connect with the audience.

Yes, Uri and Bala were turning points in my career. Those films allowed everyone to see my potential from a new lens.

If I chose to be part of a film like that at the beginning of my career, what does that tell the audience? That you are here to do something with substance, and not just be a part of what is trending. What follows is not in your hand, and in my case, it took a lot of time for everyone to turn around and say, ‘We didn’t think of her in the same light’. There was a period when I was trying to find my ground. I had clarity, but that had to be expressed through my work. And there comes a point when you don’t fear saying no and let go of films that you don’t think you should be a part of, because you want to create equity for yourself and be a pivotal part of stories. For me, this realization happened around 2019. So, I, too, had to shift gears, evolve, and change my perspective.

There has been a change, and I do sense an awareness among actresses and respect for them among writers, directors and producers who back good films. We want well-written roles, and we want to be pivotal to the story irrespective of the genre. The change will not happen in one day; years ago, it took one woman to muster the courage to go home and say she wanted to become an actress. Since then, we have had a series of great actresses because of whom we are here. Today, we are doing better work, expecting better roles, and making a place for ourselves, and if one female actor’s film stands out and does well, it makes space for more.

It’s the best feeling to come back home to someone who loves you, respects you and is always on your team, no matter what. We talk about everything – from what we ate to discussing the scenes I shot. We like to keep it light and happy. Both of us like talking about films, and not just the films we are working on, but different kinds of movies. It is so refreshing for the actor in me to hear a director’s perspective on a certain scene. I love his perspective and observations on my work, too.

Internationally, we see some of the biggest stars coming together for a film and if we want to take our cinema ahead, we have to let go of these things (like the length of your role) and create a sense of new culture where these factors are not a hindrance. We (the industry) and the media should change their lens. For so many of my films, including Kaabil, I have been written about for the length of my role, instead of what I added to the film or what I held as an actor on my own. We all need to evolve if we wish to make the change.

I don’t believe there is anything like ‘couple goals’. I find it very interesting to read these terms, and people get excited by them because they see them (couples) in a certain way. You will never know about anyone’s life, every marriage is different and every picture you see is very different. So, you don’t need to engineer that thought in people”

At the International Film Festival of India (IFFI) this year, the National Film Development Corporation of India (NFDC) has introduced a new segment — Gala Premieres and Special Screenings. As a part of the initiative, some of the most anticipated Indian films and series of the year will be screened at the festival. In addition to this, the festival will also invite cine stars to introduce their films at the festival and interact with fans.

Last year, for the first time ever, IFFI featured screenings and masterclasses by OTT players. Not only were stars from shows on streaming platforms featured prominently at the fest, but cine buffs also saw premieres of major OTT movies. Taking the collaboration forward, this year also, IFFI has invited major OTT players to participate in the film festival.

The fourth season of the Israeli television series Fauda, Neeraj Pandey’s series Khakee: The Bihar Saga, which is set in Bihar and features Karan Tacker, web series Lost, starring Yami Gautam, and Tamil web series Vadhandhi will be screened this year.

Union Minister for Information and Broadcasting, Anurag Singh Thakur, said in a statement, “We believe that the 53rd IFFI will be a grand success by enthralling all the festival attendees.” According to IFFI officials, Ajay Devgn will be attending the Drishyam 2 premiere with Shriya Saran, and Varun Dhawan and Kriti Sanon will be present at the screening of Bhediya. Ravinder Bhakar, MD, NFDC, added, “The Gala Premiere segment is an exclusive event, which is the highlight of IFFI this year. We have a line-up of big stars from the Indian film fraternity who will showcase their films at the event and walk the red carpet.”

Anvitaa Dutt’s Qala, starring Babil Khan and Tripti Dimri, and Pawan Wadeyar’s Kannada film Raymo will be screened at the fest as well. IFFI will also celebrate Satyajit Ray’s works. Ananth Mahadevan’s Busan International Film Festival selection The Storyteller, starring Paresh Rawal and Adil Hussain and based on Satyajit Ray’s short story Golpo Boliye Tarini Khuro, will also be screened.

Interactions – a collection of 12 short films by 12 directors – and Pushan Kriplani’s Goldfish, starring Deepti Naval and Kalki Koechlin, are also a highlight of the Indian premieres section. Filmmaker Nila Madhab Panda’s short film Elephant In The Room (Malayalam), based on a true story on how an entire village in Kerala came together to form an elephant corridor, is a part of the Interactions series.

Special screenings of Pan Nalin’s Chhello Show (The Last Show) and Madhur Bhandarkar’s India Lockdown will also be held at the festival.

Gautam with Roy Chowdhury

It’s hard to steal some time from Yami Gautam who has been “mad busy” shooting films back-to-back throughout 2021. The actor will soon be seen in Aniruddha Roy Chowdhury’s Lost. Quiz her whether there is enough room for creativity in such a tight schedule, and she says, “I don’t underestimate the importance of giving enough prep-time for my characters. When you are this busy, that is sacrosanct. The quality of work speaks louder than the volume. Every film is an exhibit to get better work. Prep is not just about physical training; it is about being emotionally on the same plane as your character. I ensure that I know my script thoroughly, nuance my part with imagination, and nail the body language.”

Chowdhury’s emotional thriller tackles the subject of media integrity, with Gautam playing a crime reporter. For the actor, it was an all-consuming project. “If we are talking about media integrity in today’s times, it must feel authentic. The characters have to feel familiar. Tony da [Chowdhury] gives the freedom to be as natural as possible. It makes me proud to be part of a film that stands for certain values. In a fast-paced world driven by competition, emotions don’t hold the same value. Lost and A Thursday are two films that have made me discover a lot about myself.”

Films aside, her unafraid attitude reflects in her social media posts too. Recently, she opened up on battling keratosis pilaris, a condition that leaves the skin patchy and with small bumps. Having been the poster girl for glowing skin for over a decade, Gautam’s post was a reminder to be real at a time when the beauty industry propagates perfection.

“Writing the post wasn’t difficult; it was liberating. The journey from the time when I learnt of my condition to the day I put the post out, was challenging. When people saw me at shoot, they would talk about how it should be airbrushed or concealed. That would affect me a lot. It took years to accept it and wear my confidence. I was overwhelmed to see the response to the post.”

Rahul Khanna, who was in Kolkata recently to shoot for Aniruddha Roy Chowdhury’s new film Lost — costarring Yami Gautam and Neil Bhoopalam — was excited to return to work post the pandemic. We caught up with the actor — known to be reclusive and fiercely private — who spoke to us about everything, from the factors he considers before taking up a film project to how the pandemic has changed the industry. Excerpts:

It is sooo exciting! I have been interacting and rehearsing with Aniruddha via Zoom for several months. We met for the first time in person only recently. It was the culmination of all these months of work, and we were finally able to kick off this project. Meeting Aniruddha was like meeting an old friend I had never met! Given the Coronavirus situation, we are on a really tight schedule, trying to make the most efficient use of time.

I definitely feel there is more work now. In fact, there is a broader spectrum of work for actors. But I am reserving my comments on the quality. There are some high quality pieces on OTT and stuff that is not really of the same standard. I feel there is a lot of scope for quality correction in everything. I understand there is a demand for content and I do understand that people are rushing to get more films out there quickly. The pandemic has set everyone back and there is an economic factor at play here. But, yes, there is probably some space for better quality.

There are several factors that work for me. The role and ultimately my connection with the material and the people working on it. I need to have that connection and respect for the people who are making the project and their vision. Finally, I need to have enough confidence in the director and the producer that they are going to stay true to that vision. It is my safety cocoon. Once I find that right connect, everything falls into place.

Aniruddha shared some research material with me, some references to YouTube clips. We watched a few Iranian films because he wants to achieve something similar visually. I hadn’t seen Pink, so I watched that, too. I also watched Satyajit Ray’s Agantuk and Nayak.

We are all trying to regain some level of composure after what we have been through. But the pandemic is not over by any stretch of imagination. Now is the time to be respectful of the situation by not being cavalier in our attitude towards safety protocols. We have to move with extreme caution.