Celebrated Indian filmmaker Shekhar Kapur, who serves as festival director of the International Film Festival of India (IFFI), Goa, has outlined his vision for the 2024 edition, emphasizing a shift away from comparing Indian cinema to Western standards. What are Shekhar Kapur's experiences in Indian and Hollywood film production, what does he think about the future of Indian cinema? This is a conversation between O Herald's Features Editor Dolcy D'Cruz and Shekhar Kapur.
Shekharji , your name became internationally recognized after your film Elizabeth hit Hollywood. But in India, you were already a celebrated filmmaker with movies like Masoom and Mr. India. How would you describe your journey as a filmmaker?
It’s been an exciting but challenging journey. When *Masoom* released, for example, the first four days were disheartening—the theaters were empty, and the screenings started getting reduced. But on the sixth day, something changed. The theaters were full, and the film went on to run for three years! Even today, 35 years later, people are still watching *Masoom* and singing its songs. It’s humbling.
In fact, because of that enduring love, I’m now working on a sequel, Masoom: The Next Generation. It’s not a direct continuation of the same story but touches on themes relevant to today’s middle-class families. The cast includes Naseeruddin Shah, Shabana Azmi, Manoj Bajpayee, and my daughter, Kaveri.
You’ve also tackled controversial subjects, like with Bandit Queen. What was that experience like?
Bandit Queen was a rollercoaster. Initially, many thought it wouldn’t work, but it became a huge hit. Then it faced legal battles—the High Court banned it, and the Supreme Court had to step in. Despite all that, people flocked to see it. Some even traveled in carts and buses from villages.
The controversy wasn’t just external; even within the industry, people questioned my intent. They claimed the film’s success was due to its controversial elements. To prove otherwise, I arranged women-only screenings.
These shows were packed. Women came to see the story for themselves, without interference. Ultimately, I made the film from my heart and belief system, and that connected with audiences.
Is the perception of Indian cinema still stuck in stereotypes, especially internationally?
Stereotypes exist everywhere, even in Hollywood. Look at Marvel or Disney films—they’re often labeled as “movies for children.” They create films rooted in their culture, and we do the same with ours. However, the difference lies in budgets and marketing. They have the resources to dominate globally.
For Indian filmmakers, the challenge is clear: we need better funding and access to technology. Otherwise, platforms like Disney will overshadow our identity. But we shouldn’t aim to replicate them. Our heroes, like Rajinikanth, are already larger-than-life superheroes in their way. We have our own unique storytelling styles that we must preserve.
After Bandit Queen, you made a leap to Hollywood with Elizabeth. How did that happen?
After Bandit Queen, Hollywood reached out to me. I thought, “Why not go play with the big guys?” But it wasn’t easy. For three to four years, I was living on friends’ couches, sleeping on the floor, and draining my savings.
When Elizabeth was offered to me, I initially refused. But then I checked my bank account—there was no money left. So, I accepted the project. And looking back, it was one of the best decisions I made.
Technology seems to be a recurring theme in your work, from Mr. India in 1987 to today’s advancements. How do you see its evolution?
Mr. India was one of the first Indian films to use visual effects. We made Anil Kapoor invisible on-screen, and it was groundbreaking at the time. Today, the possibilities with technology are endless.
For example, in the opening film of the International Film Festival of India this year, Better Man, the lead character is a CGI monkey. By the end of the film, the audience was in tears for that character. The emotional connection was so real, thanks to the incredible VFX work.
This is where Indian cinema can grow. If we embrace technology and use it creatively, we can tell stories in ways we’ve never imagined before.
What’s your vision for Indian cinema moving forward?
My hope is for Indian filmmakers to innovate while staying true to our cultural roots. We have the talent; we just need the resources and courage to take risks.
The world is watching, and we have the potential to redefine global cinema.