On my previous film, I felt very strongly how patriarchal film sets can be. I’m not saying those dynamics have disappeared within a year or with this new film — far from it. But with this film, I want to give a special shout-out to my camera team.
Everyone has been asking me about collaborating with Vikas Urs. His artistic brilliance is evident in his films, but for me it’s equally important to share something less visible: that he is also a deeply sensitive and beautiful human being. And this sensitivity isn’t just in words — it lives in his behavior, in his very being. Despite all the intense discussions and debates we had, I never once had to face passive displays of masculinity, or feel that I had to fight for visibility or struggle to be heard. On the contrary, working with Vikas and his team — vipin (Vaghu) and even their light boys — was easy and deeply collaborative.
I remember during the patch shoot, when we were filming a nude scene with around 20–22 women. Our cinematographer at that time was Archana Ghangrekar, along with her AC, Janhavi. That day was so joyful — not because of the scene itself being “good” or “bad,” but because the set was full of women, and their presence shifted the atmosphere completely.
And through this film, I also had Himanshu by my side — bringing all his love and all his colors into it.
When we make films, a lot is being shaped inside us too. How wonderful it is when that process is not marked by trauma, but by respect and shared experience.@swagmare@making_all_things_new_
