After winning the hearts of Delhiites with Wrong Number in 2018, director Raman Kumar is all set to mesmerise audiences with another play — Hello Zindagi. SHALINI SAKSENA speaks to the actors and the scriptwriter on what makes it a must watch
Five gorgeous actresses’ are all set to mesmerise Delhiites with the latest stage show — Hello Zindagi!. The play marks a debut for actor Smita Bansal as a scriptwriter (plays Rukhsar in Aladdin:Naam Toh Suna Hoga on SAB TV) and has been directed by Raman Kumar, who has been bestowed with the Dada Saheb Phalke Award (2015) for Contribution in Television.
The vivacious Minissha Lamba, plays Pammi. Lamba recently debuted on stage with her solo performance in Mirror Mirror where she plays multiple roles. Kishwer Merchant plays Sheena. Delnaaz Irani plays Bakula. Chitrashi Rawat plays Shivani. The man among the five women — Rahul Nayyar — plays Vicky. Guddi Maruti plays Bijoya di, a Bengali.
The theatrical revolves around women who come from different backgrounds and characteristics but are staying together in a posh flat in Mumbai. Be prepared for drama as these strong, sharp witty women lead you on an unforgettable journey filled with intrigue, comedy, confusion and passionate tides.
The harmony in the home gets tangled when Vicky falls in love with Pammi, wants to marry her and take her to the US and Bakula decides to move with them too. The plot thickens when she decides to give her business to a corporation on lease which is being organised by Vicky.
Talking about her character, Guddi tells you that she plays a Bengali maid. “Though my character is that of a maid, I am more of a friend. Since I am elder to the five women, I scold them and even bestow love. I participate in their fun as well,” Guddi shares, who makes a debut on theatre with this play.
She tells you that she was apprehensive in doing theatre. “I was scared because I had never done theatre. I was not sure whether I would be able to adjust to the concept that there are no retakes and do it at a stretch. My dear friend Rakesh Bedi ji and Ramanji convinced me to at least read the script. Once I read it, I was so taken in with the characterisation and how five women come together even though they have a backstory. Also, after 38 years in the industry, I can say that I have done theatre as well,” Guddi says.
Playing a Bengali came with its share of preparation. Besides getting the attire correct, she had to get the accent correct.
“I had to learn a few Bengali sentences. Accent had to be right as well. I did a bit of research myself. I also had to get used to whole sentences like ‘jal khabey’. I had to work on these nuances,” Guddi says and tells you that the reason why she is not doing films is because of the kind of movies that are being made today.
“When I started off in movies, it was a different era. Today, while one does have movies like Badhai Ho, it is no longer the kinds that were made with Govinda. I am busy doing TV. Even with this play, I agreed because I had just finished Yeh Un Dinon Ki Baat Hai where she played Principal Ma’am VJN College. The timing was perfect. You have to give theatre full attention. More so, since the stage was new for me,” Guddi says.
She recounts how they had a blast not just of the stage but off the stage too. “There was so much fun with Kishwer, Delnaaz and Chitrashi,” she says whose favourite scene in the play is between Kishwer and Delnaaz.
“Kishwer has done such a brilliant job. It reduced me to tears,” Guddi says who tells you that doing theatre has changed her.
“I am glad that I said yes. I had a mental block before. I have grown as an actor. The stage has helped me to be sharper. In films and TV, you have to learn a few lines and then there is a cut. Stage is different. I have cues and then make an entry. I have to be alert all the time,” Guddi says and the whole experience has made her open to doing more theatre.
Rahul Bhuchar, producer and MD, Felicity Theatre says that we all need entertainment to unwind the monotonous daily grind and the play is definitely one answer to that conundrum. “The quality of the production, the powerful script and brilliant performances by these talented actresses’ promises to keep the audiences glued to their seats till the very last minute,” Bhuchar shares.
Kumar, tells you that through Hello Zindagi! they want to say that God has made life beautiful, but it’s the people, who create problems for themselves. “This results in misery and problems. There are no shortcuts in life. The simpler your life is, the happier you will be. Live the life fully and love the life you have been given. While people may not be able to live the life as they have wanted to that doesn’t mean we can’t make the best of what we have. This the theme of the play,” Kumar says who has been busy with the play after the success of Wrong Number that was staged in 2018.
“The original story by Bansal was in English. I got to read the story, I loved the characters and decided to adopt it into Hindi. This is because in Hindi the whole gamut changes — be it language, dialogues or the fun quotient which is so different from English,” Kumar shares and tells you that the inspiration came from the emotions and the treatment that Hello Zindagi! has — dealing with a serious issue lightly.
He tells you that the reason for the growing popularity of live performance is the result of increased demand in good content.
“With the spurt in the digital platform, people are now looking for entertainment that will take them out of their homes. Film is an alternative. Also most movies find their way into the digital space. Theatre gives them live entertainment. Then there is star power too. People come to watch their favourite stars like Anupam Kher and Naseeruddin Shah who are active,” Kumar says and tells you that in Mumbai alone, there are 20-25 theatre performances every weekend in different languages.
Bansal tells you that the inspiration for the story came after her 14-year-old daughter’s book got published. “That got me thinking and I started penning some characters which became related. Slowly, the story took shape. While it was not a TV or a film script, stage was a platform where I could see it coming alive. Once I approached Ramanji, we sat and translated it into Hindi. I have been involved from day one,” Bansal says and tells you that the essence and the spirit has remained the same.
Whether scriptwriting will turn into a full-fledged career is sometime that requires more thought. “The only reason why I was able to pen this down was because I was between shows. If I have to write, it won’t be while I am shooting for a show because TV is very consuming,” Bansal tells you.
The message Hello Zindagi wants to send is what women go through, but not in a morose manner. “Even though the woman is working, the home responsibilities still rest with us. I wanted to talk about this — how despite challenges, women are happy juggling work and home,” Bansal says.
The tickets:Rs 300-Rs 2,000 bought at www.bookmyshow.com
Date & Time: March 23, Saturday 3:30pm and 6:30pm; March 24, Sunday at 5pm
Venue: Kamani Auditorium, Delhi
Writer: Shalini Saksena
Courtesy: The Pioneer
The transition from law to performance arts might seem drastic but it is a composition of talent, luck and destiny, says Shraddha Srinath
You don’t have to be from the industry to be good enough for a leading role material,” believes actress Shraddha Srinath who is gearing up for her Bollywood debut with Tigmanshu Dhulia’s venture, Milan Talkies.
The actress never planned to get into the film industry, however, she feels that she was destined to be a part of it.
She says, “I was someone who didn’t even know how to put a lipstick, I didn’t own a single one at that time. And this was when I was working as a lawyer. From there to now, it has been a lot of learning with each day.”
She says that It’s like always looking out for yourself because there’s nobody to tell you — do this or don’t do that, however there will be 100 of people instructing you that you should behave like this but at the end of the day how you take your decision, or what you think is right, is all what matters. “It’s like owning your business and handling it. I’m a business woman and I’m handling Shraddha Srinath enterprises,” she adds.
The actress who gained wide acclaim for her role in the Kannada psychological thriller U Turn, says that the transition into acting from the world of law might seem drastic, but she believes it is a composition of her talent, luck and destiny.
Incidentally, Milan Talkies is her first full-fledged romantic drama in her career. She describes it as a very filmy film. “As Bollywood as it can get. This will also show a different side of me to the audience who have only seen me in serious roles,” she says.
Talking about how she grabbed the role in the film, she tells us, “When I spoke to Tigmanshu, he asked me to enact a scene and send him my audition video. I couldn’t believe that it was actually happening. I’ve been a huge fan of his work right from the time I saw Haasil. It was a matter of five minutes, he called me and said you’re on. And I was so excited.”
With increasing competition in Bollywood, Shraddha doesn’t feel insecure at all. She says, “I’m not here to be a part of the race. I am in no rush. I will do the best that I can. And whoever see’s the potential in me may call me. I am actually quite happily busy in the south.”
It has been quite the transition for the actress with a new industry. But the actress is quite comfortable in Bollywood as she didn’t feel there was much of a change between the two industries. She explains, “Honestly, There’s no such difference, language is the only obvious difference. And they also vary in scale and but apparently not in content. Bollywood’s reach is much higher. But I must say each industry is equally professional. It depends on the director or the producer. So who’s heading the team matters the most. Industry really doesn’t matter at all. But I feel fortunate enough to work here because several people aspire to be a part of this industry, and I have achieved it.”
Shraddha who also stars in the Tamil remake of Pink, says that interestingly she hasn’t even watched the film yet. “Before I got selected for the film, every time when the topic would pop up, I say that I haven’t watched it. People were like you must watch it… And when I was finally the cast, they were like ‘ab toh’ you have to watch it. So I told them ‘ab toh I am definitely not going to watch it.’”
The actress is playing the role which Taapsee (Pannu) originally played. She says, “Taapsee has done an excellent job but while I shoot my part I don’t want to remember her performance. Now that I’m done with my part for the film. I am eager to watch it.”
Photo: Pankaj Kumar
Writer: Ayushi Sharma
Courtesy: The Pioneer
The third day at the Fashion Week defied all boundaries of monochromes, giving the audience a wide spectrum of colours and revisiting the trend of mix and match
Bill Blass once said, ‘When in doubt, wear red.’ Well, the day three at the Lotus Make-up India Fashion Week somewhat defied this. By bringing a range of colours, and modern designs to the fore, it embraced the idea of confluence of variants, and mix and match.
Through a feminine, flirtatious, and romantic range, designer Suneet Varma’s collection titled Anaya was an inspiration from the incredible traditional motifs and embroidery from the decorative arts of India. The large abstract-shaped mirrors with multi-coloured thread embroidery was a modern and fresh take for the contemporary bride. Ranging from dark shades of midnight blue and burgundy with silver accents in lehengaswith off-shoulder blouses and short jackets, his collection showcased draped skirts worn with capes and ruffled organza shirts with high-waisted palazzo pants.
The collection in shiny silver and gold metallic foil was a perfect mix of glamour with traditional silhouettes. The crystal tassel collection was inspired from the magnificent Indian jewel tones. Emerald green, ruby red and sapphire blue in teardrop and triangular crystals were used creatively in three dimensional embellishment which was worn with dramatic and draped skirts.
Designer Sanjukta Dutta showcased her new collection Morom. It was an eclectic mix of traditional design in modern silhouette, pared down in the choicest of characteristic Assamese Silk, which is locally produced by getting cocoons of a particular lineage of worms found only in a single village in Assam. Inspired by the butterfly and natural flora of the state, her range comprised of Mekhala Chador, the traditional sari of Assam. The beauty of the designs was how she has used the age-old silk and created modern designs including jumpsuits, skirt and crop top, saris with cape and pant suit. Dominated by black, creme and beige, the collection was highlighted with motifs in red, silver and gold. Actress Karisma Kapoor looked elegant in a stunning black Mekhala Chadorhighlighted with red embroidery as she walked the ramp for Sanjukta. The look was completed with exquisitely designed jewellery by Narayan Jewellers by Ketan and Jatin Chokshi.
Karisma said, “It is such a wonderful cause and Sanjukta does a lot of work to promote women empowerment. She has done a lot for women in Assam. She has given 500 women an opportunity to work and make these wonderful handloom pieces. I love bright colours and I see today as the perfect occasion to wear it.”
Amrich’s collection aimed to create an immaculate confluence of shapes, fabrics, colours and surfaces, informed by their rich repository of engagement with Indian handloom and craft traditions. The exquisite hand-loomed and hand-crafted natural textiles were specially developed in different parts of the country in khadi cotton, wool, silks and silk blends.
They focussed on a fun take at mixing and matching or un-matching of sheer and opaque through different textiles and fabric construction in the line. They used thick khadi cotton yarn woven with desi tussar silk on an open weave to create translucent fabrics whilst also making use of the khadi yarns to play with checks and stripes. A newness was created in the shibori patterns by way of introducing interesting fabric manipulations in the process. Through hand-embroideries with threadwork and beads and hand-made metal sequins, they added an element of interest to the elegant textiles. With bold shades of black, red, blue and green, the colour palette was subdued.
The collection, by channelising the timeless elegance of the hand-made into garments that are versatile, modern and evocative, was a celebration of the juxtaposition of multiplicities and its exciting offshoots.
Designer Charu Parashar presented her collection titled Avant Gardiste, which was inspired by the Chintz floral Calico textiles of 19th century. She cleverly brought the concept and transformed it totally on a deep luxurious background of colours, creating a stunning AW’19 look. The collection featured age-old techniques of hand embroidery and Indian handlooms fabrics to create prêt and diffusion look. With floral and Chintz prints, she re-invented the old silhouettes to create a new look. Through navy blue, red and sea green, her colour palette included all shades of dark.
Known for her nature-inspired designs, her collections stood for high quality of craftsmanship and innovation of Indian ethnic luxury. Keeping the Indian sensibility in mind, her designs yet gave a global vibe.
With this collection, she continues to work towards a more sustainable fashion future, keeping the old art and techniques of block printing alive. The designs were all made with sustainable fabric such as khadi silk, raw silk, satin silk, silk velvet, georgettes, and organza. There were a range of clothes including Indian waistcoats, drape dhoti’s, jackets, skirts, capes, offering a fine balance between the simple styles with few details, in which the colours like navy blue, red and sea green alone create the expression and other well- known styles that are rich details.
This year she also showcased her first ever menswear look.
Designer Dolly J brought a hyper feminine collection injected with loud, saturated, pop colours like mint green and candy pink. The collection’s seductive appeal was offset by the 70s’ florals, pleated skirts and big fur sleeves. Bows and pleated frills formed an integral part of her red carpet-worthy, evening ensembles.
Photo: Pankaj Kumar
Writer: Team Viva
Courtesy: The Pioneer
Designers such as Manish Malhotra and artists such as Sudarshan Shetty blend fashion and art to create immersive experiences that evoke the Sixth Senses of intuition and love. By Chahak Mittal
Psychology suggests that if you have a sixth sense and strongly feel in a certain way about something, you should believe it.
As a part of its third edition, the Chivas is back with the Chivas 18 Alchemy with five alchemists and maestros from the world of art, design and fashion to discover the Sixth Sense. Showcasing the art of storytelling through scintillating and unparalleled expressions of craftsmanship defying formulae, the alchemists will present some immersive and interactive installations.
Actress Malaika Arora, designers Manish Malhotra and Rahul Mishra, artist Sudarshan Shetty and jeweller Siddharth Kasliwal have curated immersive experiences exploring the unusual, creative expressions of fantasy, love, intuition, déjà vu and memory, respectively.
Shetty, through the idea of love, tries to put together the abstract and transforms it into a tactile idea reflecting feelings, curating memories and expressing freedom. He calls the process as “gathering life’s scattered fragments into a kaleidoscope.”
Explaining why did he choose the feeling of love as his sixth sense, he says that it is something that he has been thinking about since quite a long time. For him, there are a lot of things that “represent love as it is the most primary emotion.”
He feels that love is also a kind of an “oversold” idea. He says, “It is oversold to such an extent that it becomes meaningless at times. I am interested to know that how love can also sometimes render itself meaningless. So, how do you reconcile and address that idea as a basic human emotion which is a part of your life in many ways.? I have been trying to find out the answer to this through a lot of my works. And this is one way of exploring it.”
In his curation, a group of six musicians and vocalists will present the love song, Bandish, which is also an old song. “It is because I am also playing with the what is contemporary and something that is classified as traditional. This also addresses the question of what contemporary really is? It’s questioning that since everything in life has a resonance with the past, so how do you get trapped in these everyday reminisces? Through this, I want to be able to make contemporary life more meaningful,” says Shetty.
He will create a mosaic of love, loss, mortality and infinity through voices, ragas, video and installation art, and make it into one. He says, “I believe in the power of magic, art, and love. I am looking to not only extend my limitations but also trying to bring out something through that process which wasn’t there before. It is also a way to discover a new aspect of life. It’s an effort that is trying to chart various categories that are unchartered.”
For him, the five senses are the means to be able to reach that Sixth Sense, “if there is one.”
He further explains that through his installation, apart from soulful music, there is a blend of cinema, art and sculpture. “There is a film that shows a setup of a chandelier above a dinning table. And by the end of the film, the chandelier falls on the table and then that is how it is standing.”
For Shetty, the falling of the chandelier acts as a metaphor for love, that cannot exist without a sense of it being lost. He explains, “If you are in love, you are also always aware that it could be lost. It’s a cycle of finding and losing. So, to represent the loss, I have dropped the chandelier. Love also needs bed rest sometimes.”
While Sudarshan presents the idea of love as the most intricate and precious emotions of life, designer Manish Malhotra brings his idea of Sixth Sense as ‘Intuition.’
He dabs into amber depths to paint a mirage of visions with mirrors and reflections — fleeting, lasting, diffused, spontaneous yet startling in clarity.
For Malhotra, intuition means the “perception” of things. “It’s your mind and the inner self that is sensing things. It’s your mind that speaks to you and let’s you perceive certain things like a reflection in the mirror.”
The designer who is very “fond of mirrors,” intuition is multi-faceted and reflects elements that are true. “They act as metaphors of reality. There’s nothing to hide when you are standing in front of the mirror, they show, reflect and speak what is true. In a certain atmosphere or among a group of people, it’s your intuition which acts as a mirror and let’s you perceive it clearly,” he explains.
Since it is Chivas, he says, in his curation, there has to be a bar, and in it, he has used a lot of mirror work. “It’s also a reflection of what is there within you. It represents a fearless approach of being your true self.”
Talking about how he blended his individual style and profession of designing fashion with the alchemy, he exemplifies his experience in the film industry which is of more than 29 years, “I am 52, but my label is a lot more younger — 14 years old. Now is the time when I am starting on a lot more different vertical and experimenting with various kinds of production work for design and decor. Hence, I wanted it to be reflected by something new that I have started now. It should be under alignment to my thoughts and vision.”
He believes that in life, experiences signify how blessed one is. “In my case, it has been a lot of work and I am blessed to be still working with the third generation of actors. There is so much of experience, which helps your intuition, mind, heart and thought process. I am grateful for so many experiences to be a part of me. And it’s all because of my intuition that I could make the right choices in my life,” he says as he signs off.
Writer: Chahak Mittal
Courtesy: The Pioneer
Creating and sustaining an organisation’s business model, in the short and long-term, requires it to interact with external factors, its relationships and use of resources
India has a huge railway network — its full track length can circle the equator one-and-a-half times while the total distance it covers daily equals three and half times the distance to the moon! It carries more than 25 million passengers every day, more than the entire population of Australia. It is also the world’s ninth largest employer, serving even the farthest locations in India. However, the Railways incurred a loss of Rs 4,000 crore in the last three years. Does that mean it is not valuable as an organisation and does not add to the GDP and growth of our economy? The answer is no. It is, in fact, a very valuable company but the worth is not reflected in the reporting. Here comes the significance of Integrated Reporting (IR), which brings about improved cohesion and efficiency in the corporate reporting process as it allows a business to incorporate its value creation in a holistic manner, the outcome of which is efficient and productive allocation of capital.
Integrated Reporting is able to bring in the value generated by a business by integrating the financial and non-financial performance of a company in a single report. This helps in providing a greater context to the non-financial data such as how the company performs on environmental, social and governance (ESG) parameters, how sustainability is embedded in the core business strategy and so on. It is important to note that Integrated Reporting doesn’t only mean merging financial and sustainability reports into one report. Its true meaning is to link sustainability strategy to business strategy and help the company and its stakeholders identify the non-financial priority areas.
For some years now, the limitations of the current reporting practices have been felt by both the investors and other stakeholders and there has been a significant drive towards more transparent, relevant and comprehensive reporting practices. In India, the Companies Act 2013, Corporate Social Responsibility Legislation, SEBI Listing Requirements, Business Responsibility Reporting and so on are some of the key regulatory developments that are focussed on improving the quality of disclosures and increasing business accountability towards societal issues.
SEBI has taken a step forward in this direction by its circular dated February 2017, where it has encouraged the top 500 companies to adopt the Integrated Reporting framework. The circular delivers on the IOSCO Principle 16 that states, “There should be full, accurate and timely disclosure of financial results, risks and other information that is material to investors’ decisions.” SEBI recommends that Integrated Reporting may be adopted on a voluntary basis from the financial year 2017-18 by the top 500 companies, which are required to prepare Business Responsibility Report (BRR). The information may be provided in the annual report separately or by incorporating in Management Discussion & Analysis or by preparing a separate report (annual report prepared according to framework). Subsequently in 2017, SEBI formed the Kotak committee to help improve corporate governance in listed companies.
Apart from regulators, corporates have also started to understand the importance of the change in reporting practices to not only focus on financial capital but to demonstrate the value created by the entity while operating within its economic, social and environmental system. The intended change requires an in-depth understanding of all the building blocks of the value creation process of business to enable corporates to develop a reporting model, which gives an insightful picture of its performance and is considered sufficient to assess the quality and sustainability of their performance. In India, information on emissions management, water conservation, energy reduction, human rights and similar topics are included in the annual report or published in a separate Sustainability Report (SR). The transition from CSR to SR focussed on moving from philanthropic social impact to stating the impact on natural and human capital. This is inclusive of all materially relevant capital, connecting them to business risks, decisions and outcomes in the short, medium and long-term.
Drivers for adoption of Integrated Reporting comprise both pull and push factors. Stakeholder groups such as investors, customers and so on can demand greater level of disclosure. On the other hand, regulations and compliance standards such as those by stock exchanges, government regulatory bodies and so on can act as another driver for adoption of Integrated Reporting.
The International Integrated Reporting Council (IIRC), the global coalition of regulators, investors, companies, standard setters, the accounting profession and NGOs, has given a series of six principles and content elements for preparing an integrated report:
The creating and sustaining the business model of an organisation, in the short, medium and long-term, requires the businesses to interact with external factors, its relationships and use of resources.
In doing so, businesses consider six capitals: financial capital, which is the pool of funds available to the organisation; manufactured capital, manufactured physical objects, as distinct from natural physical objects; intellectual capital, which is the intangibles that provide competitive advantage; natural capital that includes water, land, minerals and forests and biodiversity and ecosystem health; and social capital, which is the relationship established within and between each community, group of stakeholders and other networks to enhance individual and collective well-being. It also includes an organisation’s social licence to operate, in addition to the human capital.
This Integrated Reporting, then, will include a lot more information about how the company fits within the environment and society and how it creates long-term value. The focus will move from being merely concerned with reporting the past in financial terms to considering the past and short, medium and long-term futures in a connected strategic manner. It will be tailored to the reporting entity’s specific circumstances and likely have a greater degree of transparency.
According to IIRC, the integrated reports can be developed on the basis of certain guiding principles.
We have the responsibility to leave a better future to the next generation when we are witnessing a transition to a sustainable society from a consumer one, where there is a requirement for companies to determine their strategies within the framework of the development criteria.
The management should monitor and manage both financial and non-financial elements across the whole value chain (from design and supply chain to operation and from consumer purchases to the end of the product life-cycle) rather than focussing on financial performance only. The goal is to ensure that financial and non-financial data are integrated.
(The writer is Assistant Professor, Amity University)
Writer: Hima Bindu Kota
Courtesy: The Pioneer
Presented by the Shankar Lall Murli Dhar Memorial Society, the 53rd Shankar Shad Mushaira will feature some established Urdu poets like Javed Akhtar, Waseem Barelvi, Rahat Indori, among many others. WHEN: March 16 TIME: 7 pm onwards WHERE: Modern School, Barakhamba Road.
Teamwork Arts presents the March edition of Under the Banyan Tree on a Full Moon Night, a specially crafted Soirees where the blend of moonlight and music will recreate the poetic charm of traditional events, celebrating and bringing alive the spirit of Holi. When: March 16 time: 7 pm onwards where: 1AQ, Opposite Qutub Minar, Mehrauli.
Shriram Bharatiya Kala Kendra presents 72nd Shriram Shankarlal Music Festival that celebrates classical music in modern India, featuring a range of artists and musicians. when: March 14 to 17 Where: Shriram Bharatiya Kala Kendra Lawns, Copernicus Marg.
The Mohan Brothers are set to perform for the India edition of Strings in Harmony — a concert that has toured various venues in the USA. The concert tour is now coming to three cities in India, featuring the Sitar and Sarod maestros, Lakshay Mohan and Aayush Mohan. When: March 20 Time: 7 pm onwards where: Kamani Auditorium.
Writer: Pioneer
Courtesy: The Pioneer
Artist Maite Delteil’s series of paintings from the 1960s features women who are free to roam the terrain of their imagination without boundaries. By Team Viva
Being brought up at the countryside of France, artist Maite Delteil’s context in her paintings was relatively conservative — one where women were not allowed the freedom that they could access today. As the Art Alive gallery presents the artist’s collection of 20 to 30 of her artworks from the 1960s, titled The Yellow Room, Delteil talks about how these works came into existence when she was young, exploring the depths of her thoughts.
Her series of paintings have been seen as a reminder of freedom and intimacy that is primarily reserved for oneself, in private chambers. The domesticity that one views in her paintings is not the domesticity that is traditionally ascribed to women as their responsibility, but one that Virginia Woolf would have approved of — women in rooms of their own.
Empowered by travel and time spent in Spain and Greece, Delteil transcended her circumstances to grow as an artist, and marry the man of her choice, Indian artist Sakti Burman, to her family’s displeasure.
When a friend asked the artist that why there are only women in her paintings of the 60s and why generally is there a single woman in each of it?
She replied, “In the 60s, the social life in France was a bit conservative. My father had rejected me from the family when I married my Indian friend. It was my unconscious thought that women have to solely find their place in the society, without anyone’s guidance. Hence, unconsciously it were the thoughts of single women I was featuring at that time.”
Inspired and “impressed” by artists like Berthe Morisot, Edward Vuillard or Pierre Bonnard, she feels that at the end of the 1960s, when she was working in Japan, she began to find herself in the paintings. “I searched for vibrant colours to depict the intimate interiors and present women in gentle boudoirs, in a contemplative appearance, more than in a banal sentimental vision,” said she.
Delteil’s use of yellow, the brightest colour that the eye can register, and also the colour of the sun, opens up the rooms in her works from being “stuffy and claustrophobic.” She lends them an outdoor-like quality, as if in broad daylight, reminiscent of her later works, where the subject matter is indeed placed under the open sky, to be observed from a distance, contrary to the immediate encounter predicated in these works. It’s through her vivid colours that Delteil showcases how the women roam around in their rooms with free imagination and the only space they own without boundaries.
For Delteil, in the airy, light-filled spaces, women lounge in all their nudity, immersed in contemplation. They are contemplative dreamers, desiring for something that is denied to them by their prescribed realities.
Empowering the feminine impulse, she paints a world where women are empowered by the right to define themselves, and can indulge in their own thoughts and “dare to dream.”
The exhibition will also release and premiere a film on the artist by Joy Banerjee, titled Maîte Enchanted.
(The show is on from March 15 to April 15 at Art Alive Gallery.)
Writer:Team Viva
Courtesy: The Pioneer
Four women filmmakers from the Indian movie industry – Zoya Akhtar, Reema Kagti, Alankrita Shrivastava and Nitya Mehra reveal what makes them a part of the new content-driven entertainment, one where they are breaking barriers. In a conversation with Saimi Sattar
What do you get when you have four powerhouse directors who have a distinct oeuvre in one place? A swirl of ideas and thoughts that might not be linear but each of which is certainly coherent and individualistic. Zoya Akhtar, Reema Kagti, Alankrita Shrivastava and Nitya Mehra might have learnt the ropes from some of the best in the industry but now are names to reckon with on their own. The four of them have come together to collaborate on Made in Heaven, a show that is being aired on Amazon Prime, a digital platform. So while Zoya, Reema and Alankrita wrote the script where the protagonists are wedding planners, Nitya was the showrunner who ensured continuity as each of them directed a few episodes. They reveal what makes them a part of the new content-driven entertainment, one where they are breaking barriers beyond just gender.
The show is on Indian weddings, the economy and the culture around it. What were some of the discoveries you made while researching for it?
Reema: For that, you will have to watch the show (laughs). Yes, there was a lot of research that we did on the subject and found out so many aspects that we did not know about. Marriage is not big in India without a reason. It is the problem-solver for everything and an equaliser of sorts. Some of our personal and family experiences have also made it to the show. The idea first came from Zoya as she has a friend of hers who works in the business.
Nitya: Zoya and Reema recently attended back to back weddings of two of our mutual friends in Delhi. They stayed with me and since it was like a break from work, we observed everything as spectators.
Zoya: That’s when I realised that there was so much of backroom gush to produce a great magical spectacle, much like a grand film. It was a fascinating mosaic of ideas and imagination. It inspired me so much that I actually got to a desk to write about it.
How did the four of you manage to maintain the creative tempo?
Zoya: The slight style difference is welcome. The bigger picture was that the three of us (Reema, Zoya, Alankrita) wrote it and so we were already on the same page as we had come on board from the beginning while she (Nitya) was the showrunner. It was a challenge to treat the subject visually. Each wedding is episodically different, so each chapter changes how you want to treat it in terms of design and style. We had a continuity with the crew and our actors are very good. The moment they get their pitch, they do not need the director telling them what their character graph is, they know it.
Alankrita: What worked for all of us is that we went with our instinct and gut feeling.
Zoya: All four of us believe in originality and that honesty is the reason why there is a seamless flow to things.
How did you resolve creative differences in terms of show continuity, from one episode to the next?
Reema: That’s why Nitya was the showrunner throughout.
Nitya: That is a part of my job profile to absorb breaks in movement if the crew or the director changes. Not too many people know about this job because it is new. The primary job of a showrunner is to be able to bring everybody that is straying away on the same page and to whatever was decided in the beginning. We did have a writers’ and a directors’ room but we read the entire series from the first to the last episode and if any director had a problem, it was brought to the table as were the suggestions. Like Zoya said, it was nice to have different directors for different weddings. And every time someone was straying, we just brought them back.
Alankrita: We were on the same page while developing it. We knew what the location would be or what we were looking for in terms of cast. When you’ve worked on the material and been a part of the developing process, you kind of know what you want. It made it much simpler that we did not come in from the cold.
Nitya: Once the crew sets in, it is easy whether directors come in or not. If it is not working, then you just make it work.
Alankrita: And we are just this amazing set of people, so we do know how to work well. (All of them laugh).
Nitya: We also had Prashant Nair (director of episode 5 and 6) who was not a part of the process. So I understood that he needed a little more of hand-holding.
Zoya: If you’re clear about your specifics and pen them down to the last detail, work with your actors to grow into the characters… in short if your prep is thorough, there are no disputes.
Would you say that you have been able to break out of that mould of being categorised as women directors?
Zoya: I haven’t directed any typical woman-centric film and my subjects have been vastly different between projects. Yet that is what I keep hearing.
Alankrita: It is a very offensive thing to say that women make typical films. We never set a grammar for male directors or attribute content to their worldview. A protagonist is a protagonist and a story is a story irrespective of the fact whether it is about a man or a woman. The bigger question is whether you are humane and sensitive in your treatment.
Zoya: Absolutely.
Alankrita: Also, when 50 per cent of the population comprises women, why shouldn’t 50 per cent of the stories be about them? If men have been telling stories about other men without getting stereotyped, I don’t know what’s the harm in having women protagonists?
Nitya: Moreover a typical story is a typical story regardless of the gender of the maker.
Zoya: Alankrita’s Lipstick Under My Burkha was not typical at all.
How do you see the digital platform, since all of you are directing for it for the first time?
Reema: Nitya has worked on such a format before.
Nitya: Yes, I directed some episodes of the first season of 24. It was for television but still in an episodic format. This is definitely the first web series.
Zoya: A series has a different base. It has eight hours to tell a story, develop characters, get nuances and layers. There is a lot of time to develop the arc. There is no censorship and no pressure of box office and opening weekend. But you have to shoot very fast and tighten your budget. Yet I thoroughly enjoyed it and considered it a new training ground. I think I really grew up and I want to continue doing it.
Would you say that in films and web series, the projection of women is changing but the same cannot be said about TV?
Zoya: I don’t watch TV honestly because the shows don’t appeal to me or speak to me. I don’t connect with them.
Reema: To be fair, there are also a lot of films and web series that are regressive. It is not as if only this format is regressive.
Zoya: Absolutely. All TV is not regressive, just as every web series is not progressive. I guess it depends on who is serious about challenging norms, pushing the envelope and making a mark.
Would you say that the collaboration between the four of you was a learning process?
Zoya: Any project that you do, you learn. You take something from the team you work with and they take something off you. That is a part and parcel of life. There is a certain comfort and camaraderie that develops. There is a certain amount of trust that you can go to sleep with while the other person has your back. That is something that is non-negotiable. That is not something that you find easily.
Reema: The project has been going on for one-and-a- half years, so you cannot expect us to do nothing but this. So as people came and went, whosoever was there would cover for everybody else.
Nitya: It has been a true collaboration.
Zoya: That to me is very precious.
So all of you have known each other outside work?
Alankrita: We (Zoya and Reema) have know each other the longest since we were assistant directors together in our 20s. We met Nitya on the sets of Lakshya around 2003-2004.
Nitya: They were my bosses. (laughs)
Zoya: We met and we became buddies. The story about Alankrita is really weird because I read her script before I met her. I had read the script of Lipstick Under My Burkha as part of the Sundance Lab which has to be anonymous. I was vetting or judging or whatever for lack of a better word. I read the script and I fell in love with it. Later, when we were developing the script of Made in Heaven, I called up Urmi Juvekar, who is a writer and was part of the same lab, to get Alankrita’s contact. So, I was in love with her before I met her. (Both of them laugh)
Reema: We just fell into a system. I was a bit worried as Zoya and I have been collaborating for long and we have a system. But Alankrita came and fitted right in.
Alankrita: For me, it was a huge learning process as I have never really collaborated for anything from a scratch. I really wanted to work with Zoya and Reema. And it turned out to be so much fun. I think I grew up a lot through it. For me it was very new and exciting. I will really cherish that.
Nitya: In a film you really don’t get the chance to collaborate as much. You will do it with the crew. There is one DOP and you are the director. In that sense, the format is very different. Very rarely do you see that one writer is writing nine episodes or one director is doing all of them. This was more of a collaboration.
Indians are still obsessed with the idea of a big fat wedding. Is that the reason why you did this show?
Zoya: I mean, yes. World over people are obsessed with weddings. Some are big and fat and some are even one-day, compact affairs. Everyone is obsessed with their wedding day. The beauty of the Indian wedding is that it is such a massive celebration and with that comes so much hoopla.
Nitya: Which is a great backdrop for drama.
Zoya: There are generations, family, money — all of that is involved.
Nitya: The show goes really beyond the weddings. They are the backdrop, of course. The tracks of the protagonists (the wedding planners) and the turmoil that they are going through in their personal lives as they are planning them, as well as the new families that pop up in each episode… all jostle for a space in the canvas. So there is a social commentary as well.
Zoya: And there are egos.
After watching the trailer, many people have compared it to the film Band Baaja Baaraat. What do you have to say?
Zoya: People say anything. When Zindagi Na Milegi Dobara released, they said it was like Hangover. When Gully Boy trailer went on air, they said it was Eight Miles. Now they are saying Band Baaja Baaraat. The thing is that all the films that they are comparing with are good.
Nitya: There’s Monsoon Wedding too.
Zoya: We are in good company, so we aren’t comparing.
Reema: Any film that breaks the mould will always be compared.
Zoya: That is because they want to have a reference point.
Reema: Sometimes they are jumping the gun. Sometimes they are being the know-it-all.
When you were conceptualising the show, did you know there would be four directors?
Zoya: When the show got greenlit, our individual films also took off almost at the same time. So we knew that we would not be able to direct the entire season ourselves. Initially, we thought just the three of us would do it but then we realised that we had to add one more because there was no way I could direct more than two. I had to leave because I had to prep for Gully Boy.
Reema: I could not shoot any because I was shooting Gold.
Nitya: I could have directed but then I just became the show runner, so I couldn’t. Despite that, I directed the maximum (three).
Zoya: While we were prepping it, she was promoting Lipstick.
Any more plans of collaborating?
Zoya: I hope so. I feel like-minded people in the industry should collaborate. There is learning, fun and it makes for better work.
Reema: Normally when you are writing and directing alone, it can be quite lonely. So I loved having so many women around.
Photo: Pankaj Kumar
Writer: Saimi Sattar
Courtesy: The Pioneer
The manner in which a film is being showcased matters more than its content, actor Taapsee Pannu tells Ayushi Sharma
As they say, life happens while you’re busy making other plans and actress Taapsee Pannu is a firm believer of that. She says, “Every other person in the world can have a peaceful ride, enjoy the present moment, yet we can’t help but make plans for future in order to be assured. But the actual experience of being alive is beyond those plans that happens to us when they are least unexpected. I am that point in my life where I feel it’s all a dream. I never aimed at becoming an actor. I never dreamt of it. If I hadn’t stepped into this industry, I probably wouldn’t have even realised that I could act.”
Taapsee tries to make the best out of each and every opportunity. She believes that to stay on path, every person must live in the present and “let go of fear.”
About her recent thriller, Badla, which is a remake of a Spanish film, she believes that the Indian audience is not quite open when remakes of any story are made, they prefer original content over anything. However, telling the same story again doesn’t always mean that it isn’t unique. “A story is a world view of what a filmmaker set out to do under the given circumstances and what they bring out from various characters. Though the structure might be of a Spanish film but the entire insight is very different,” she says.
The film, which released yesterday which opened to good reviews, is Taapsee’s second outing with Amitabh Bachchan after Pink, the film which put the spotlight on her.
After portraying disparate and offbeat characters, there is still one left for Taapsee. She says she really wants do X-Men or Avengers as she is a huge fan of super hero films. She says, “It hasn’t happened yet and I’m eagerly looking forward to it.”
Bollywood is currently high on the trend of biopics, and increasingly picking up subjects that portray realism or stand for social causes. The actress disagrees. She feels that it would be better to say that the industry is creating good content rather than forcefully putting realism into its focus. She says, “It’s because we are getting attracted towards more engaging stories. The content matters and when it is real, people have no choice but to connect with it. A good film is one that keeps the audience hooked. It could be any genre — thriller or comedy.”
For her, it doesn’t matter what you are showcasing but the manner in which it is being projected. An instance — Badla.
Taapsee’s next project is Mission Mangal.
Photo: Pankaj Kumar
Writer: Ayushi Sharma
Courtesy: The Pioneer
The manner in which a film is being showcased matters more than its content, actor Taapsee Pannu tells Ayushi Sharma
As they say, life happens while you’re busy making other plans and actress Taapsee Pannu is a firm believer of that. She says, “Every other person in the world can have a peaceful ride, enjoy the present moment, yet we can’t help but make plans for future in order to be assured. But the actual experience of being alive is beyond those plans that happens to us when they are least unexpected. I am that point in my life where I feel it’s all a dream. I never aimed at becoming an actor. I never dreamt of it. If I hadn’t stepped into this industry, I probably wouldn’t have even realised that I could act.”
Taapsee tries to make the best out of each and every opportunity. She believes that to stay on path, every person must live in the present and “let go of fear.”
About her recent thriller, Badla, which is a remake of a Spanish film, she believes that the Indian audience is not quite open when remakes of any story are made, they prefer original content over anything. However, telling the same story again doesn’t always mean that it isn’t unique. “A story is a world view of what a filmmaker set out to do under the given circumstances and what they bring out from various characters. Though the structure might be of a Spanish film but the entire insight is very different,” she says.
The film, which released yesterday which opened to good reviews, is Taapsee’s second outing with Amitabh Bachchan after Pink, the film which put the spotlight on her.
After portraying disparate and offbeat characters, there is still one left for Taapsee. She says she really wants do X-Men or Avengers as she is a huge fan of super hero films. She says, “It hasn’t happened yet and I’m eagerly looking forward to it.”
Bollywood is currently high on the trend of biopics, and increasingly picking up subjects that portray realism or stand for social causes. The actress disagrees. She feels that it would be better to say that the industry is creating good content rather than forcefully putting realism into its focus. She says, “It’s because we are getting attracted towards more engaging stories. The content matters and when it is real, people have no choice but to connect with it. A good film is one that keeps the audience hooked. It could be any genre — thriller or comedy.”
For her, it doesn’t matter what you are showcasing but the manner in which it is being projected. An instance — Badla.
Taapsee’s next project is Mission Mangal.
Photo: Pankaj Kumar
Writer: Ayushi Sharma
Courtesy: The Pioneer
Four women filmmakers from the Indian movie industry – Zoya Akhtar, Reema Kagti, Alankrita Shrivastava and Nitya Mehra reveal what makes them a part of the new content-driven entertainment, one where they are breaking barriers. In a conversation with Saimi Sattar
What do you get when you have four powerhouse directors who have a distinct oeuvre in one place? A swirl of ideas and thoughts that might not be linear but each of which is certainly coherent and individualistic. Zoya Akhtar, Reema Kagti, Alankrita Shrivastava and Nitya Mehra might have learnt the ropes from some of the best in the industry but now are names to reckon with on their own. The four of them have come together to collaborate on Made in Heaven, a show that is being aired on Amazon Prime, a digital platform. So while Zoya, Reema and Alankrita wrote the script where the protagonists are wedding planners, Nitya was the showrunner who ensured continuity as each of them directed a few episodes. They reveal what makes them a part of the new content-driven entertainment, one where they are breaking barriers beyond just gender.
The show is on Indian weddings, the economy and the culture around it. What were some of the discoveries you made while researching for it?
Reema: For that, you will have to watch the show (laughs). Yes, there was a lot of research that we did on the subject and found out so many aspects that we did not know about. Marriage is not big in India without a reason. It is the problem-solver for everything and an equaliser of sorts. Some of our personal and family experiences have also made it to the show. The idea first came from Zoya as she has a friend of hers who works in the business.
Nitya: Zoya and Reema recently attended back to back weddings of two of our mutual friends in Delhi. They stayed with me and since it was like a break from work, we observed everything as spectators.
Zoya: That’s when I realised that there was so much of backroom gush to produce a great magical spectacle, much like a grand film. It was a fascinating mosaic of ideas and imagination. It inspired me so much that I actually got to a desk to write about it.
How did the four of you manage to maintain the creative tempo?
Zoya: The slight style difference is welcome. The bigger picture was that the three of us (Reema, Zoya, Alankrita) wrote it and so we were already on the same page as we had come on board from the beginning while she (Nitya) was the showrunner. It was a challenge to treat the subject visually. Each wedding is episodically different, so each chapter changes how you want to treat it in terms of design and style. We had a continuity with the crew and our actors are very good. The moment they get their pitch, they do not need the director telling them what their character graph is, they know it.
Alankrita: What worked for all of us is that we went with our instinct and gut feeling.
Zoya: All four of us believe in originality and that honesty is the reason why there is a seamless flow to things.
How did you resolve creative differences in terms of show continuity, from one episode to the next?
Reema: That’s why Nitya was the showrunner throughout.
Nitya: That is a part of my job profile to absorb breaks in movement if the crew or the director changes. Not too many people know about this job because it is new. The primary job of a showrunner is to be able to bring everybody that is straying away on the same page and to whatever was decided in the beginning. We did have a writers’ and a directors’ room but we read the entire series from the first to the last episode and if any director had a problem, it was brought to the table as were the suggestions. Like Zoya said, it was nice to have different directors for different weddings. And every time someone was straying, we just brought them back.
Alankrita: We were on the same page while developing it. We knew what the location would be or what we were looking for in terms of cast. When you’ve worked on the material and been a part of the developing process, you kind of know what you want. It made it much simpler that we did not come in from the cold.
Nitya: Once the crew sets in, it is easy whether directors come in or not. If it is not working, then you just make it work.
Alankrita: And we are just this amazing set of people, so we do know how to work well. (All of them laugh).
Nitya: We also had Prashant Nair (director of episode 5 and 6) who was not a part of the process. So I understood that he needed a little more of hand-holding.
Zoya: If you’re clear about your specifics and pen them down to the last detail, work with your actors to grow into the characters… in short if your prep is thorough, there are no disputes.
Would you say that you have been able to break out of that mould of being categorised as women directors?
Zoya: I haven’t directed any typical woman-centric film and my subjects have been vastly different between projects. Yet that is what I keep hearing.
Alankrita: It is a very offensive thing to say that women make typical films. We never set a grammar for male directors or attribute content to their worldview. A protagonist is a protagonist and a story is a story irrespective of the fact whether it is about a man or a woman. The bigger question is whether you are humane and sensitive in your treatment.
Zoya: Absolutely.
Alankrita: Also, when 50 per cent of the population comprises women, why shouldn’t 50 per cent of the stories be about them? If men have been telling stories about other men without getting stereotyped, I don’t know what’s the harm in having women protagonists?
Nitya: Moreover a typical story is a typical story regardless of the gender of the maker.
Zoya: Alankrita’s Lipstick Under My Burkha was not typical at all.
How do you see the digital platform, since all of you are directing for it for the first time?
Reema: Nitya has worked on such a format before.
Nitya: Yes, I directed some episodes of the first season of 24. It was for television but still in an episodic format. This is definitely the first web series.
Zoya: A series has a different base. It has eight hours to tell a story, develop characters, get nuances and layers. There is a lot of time to develop the arc. There is no censorship and no pressure of box office and opening weekend. But you have to shoot very fast and tighten your budget. Yet I thoroughly enjoyed it and considered it a new training ground. I think I really grew up and I want to continue doing it.
Would you say that in films and web series, the projection of women is changing but the same cannot be said about TV?
Zoya: I don’t watch TV honestly because the shows don’t appeal to me or speak to me. I don’t connect with them.
Reema: To be fair, there are also a lot of films and web series that are regressive. It is not as if only this format is regressive.
Zoya: Absolutely. All TV is not regressive, just as every web series is not progressive. I guess it depends on who is serious about challenging norms, pushing the envelope and making a mark.
Would you say that the collaboration between the four of you was a learning process?
Zoya: Any project that you do, you learn. You take something from the team you work with and they take something off you. That is a part and parcel of life. There is a certain comfort and camaraderie that develops. There is a certain amount of trust that you can go to sleep with while the other person has your back. That is something that is non-negotiable. That is not something that you find easily.
Reema: The project has been going on for one-and-a- half years, so you cannot expect us to do nothing but this. So as people came and went, whosoever was there would cover for everybody else.
Nitya: It has been a true collaboration.
Zoya: That to me is very precious.
So all of you have known each other outside work?
Alankrita: We (Zoya and Reema) have know each other the longest since we were assistant directors together in our 20s. We met Nitya on the sets of Lakshya around 2003-2004.
Nitya: They were my bosses. (laughs)
Zoya: We met and we became buddies. The story about Alankrita is really weird because I read her script before I met her. I had read the script of Lipstick Under My Burkha as part of the Sundance Lab which has to be anonymous. I was vetting or judging or whatever for lack of a better word. I read the script and I fell in love with it. Later, when we were developing the script of Made in Heaven, I called up Urmi Juvekar, who is a writer and was part of the same lab, to get Alankrita’s contact. So, I was in love with her before I met her. (Both of them laugh)
Reema: We just fell into a system. I was a bit worried as Zoya and I have been collaborating for long and we have a system. But Alankrita came and fitted right in.
Alankrita: For me, it was a huge learning process as I have never really collaborated for anything from a scratch. I really wanted to work with Zoya and Reema. And it turned out to be so much fun. I think I grew up a lot through it. For me it was very new and exciting. I will really cherish that.
Nitya: In a film you really don’t get the chance to collaborate as much. You will do it with the crew. There is one DOP and you are the director. In that sense, the format is very different. Very rarely do you see that one writer is writing nine episodes or one director is doing all of them. This was more of a collaboration.
Indians are still obsessed with the idea of a big fat wedding. Is that the reason why you did this show?
Zoya: I mean, yes. World over people are obsessed with weddings. Some are big and fat and some are even one-day, compact affairs. Everyone is obsessed with their wedding day. The beauty of the Indian wedding is that it is such a massive celebration and with that comes so much hoopla.
Nitya: Which is a great backdrop for drama.
Zoya: There are generations, family, money — all of that is involved.
Nitya: The show goes really beyond the weddings. They are the backdrop, of course. The tracks of the protagonists (the wedding planners) and the turmoil that they are going through in their personal lives as they are planning them, as well as the new families that pop up in each episode… all jostle for a space in the canvas. So there is a social commentary as well.
Zoya: And there are egos.
After watching the trailer, many people have compared it to the film Band Baaja Baaraat. What do you have to say?
Zoya: People say anything. When Zindagi Na Milegi Dobara released, they said it was like Hangover. When Gully Boy trailer went on air, they said it was Eight Miles. Now they are saying Band Baaja Baaraat. The thing is that all the films that they are comparing with are good.
Nitya: There’s Monsoon Wedding too.
Zoya: We are in good company, so we aren’t comparing.
Reema: Any film that breaks the mould will always be compared.
Zoya: That is because they want to have a reference point.
Reema: Sometimes they are jumping the gun. Sometimes they are being the know-it-all.
When you were conceptualising the show, did you know there would be four directors?
Zoya: When the show got greenlit, our individual films also took off almost at the same time. So we knew that we would not be able to direct the entire season ourselves. Initially, we thought just the three of us would do it but then we realised that we had to add one more because there was no way I could direct more than two. I had to leave because I had to prep for Gully Boy.
Reema: I could not shoot any because I was shooting Gold.
Nitya: I could have directed but then I just became the show runner, so I couldn’t. Despite that, I directed the maximum (three).
Zoya: While we were prepping it, she was promoting Lipstick.
Any more plans of collaborating?
Zoya: I hope so. I feel like-minded people in the industry should collaborate. There is learning, fun and it makes for better work.
Reema: Normally when you are writing and directing alone, it can be quite lonely. So I loved having so many women around.
Photo: Pankaj Kumar
Writer: Saimi Sattar
Courtesy: The Pioneer
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