मुंबई, महाराष्ट्र: फिल्म अभिनेत्री और निर्देशक रेणुका शहाणे ने IANS को दिए एक एक्सक्लूसिव इंटरव्यू में अपनी एनिमेटेड शॉर्ट फिल्म 'लूपलाइन' (Loopline animated short film) के बारे में बात की, जो न्यूयॉर्क इंडियन फिल्म फेस्टिवल के लिए जा रही है। इस खास बातचीत में उन्होंने फिल्मों की बदलती दुनिया, टीवी पर वापसी की संभावनाओं, और अपने पति आशुतोष राणा को लेकर भी दिलचस्प बातें साझा कीं। रेणुका ने बताया कि आशुतोष राणा ने हाल ही में चन्द्र बरदाई का किरदार निभाया है, जिस पर उन्हें बेहद गर्व है। उन्होंने यह भी कहा कि बतौर डायरेक्टर आशुतोष को निर्देशित करना एक बेहतरीन अनुभव रहा। आज की फिल्मों को लेकर रेणुका ने चिंता जाहिर की और कहा कि बड़ी बजट की फिल्मों में भी अब आर्ट और क्राफ्ट की कमी नजर आती है, जो एक डरावनी स्थिति बन चुकी है, खासकर प्रोड्यूसर्स और डायरेक्टर्स के लिए। उन्होंने यह भी माना कि कोविड के बाद हिंदी सिनेमा में ओटीटी का क्रेज काफी बढ़ा है और लोग अब ज्यादा डिजिटल कंटेंट की तरफ आकर्षित हो रहे हैं। साथ ही, उन्होंने रेसिज्म और सिनेमा के रोल पर भी अपने विचार रखे।
#RenukaShahane #Loopline #NYIFF2025 #AshutoshRana #ChandBardai #IndianCinema #OTTContent #PostCovidCinema #FilmFestival #HindiCinema #RacismInCinema #ShortFilm #CinematicArt #ContentMatters #FilmDirection #TVComeback #ActorCost #CinemaTrends #RenukaInterview #FestivalFilm
#RenukaShahane #Loopline #NYIFF2025 #AshutoshRana #ChandBardai #IndianCinema #OTTContent #PostCovidCinema #FilmFestival #HindiCinema #RacismInCinema #ShortFilm #CinematicArt #ContentMatters #FilmDirection #TVComeback #ActorCost #CinemaTrends #RenukaInterview #FestivalFilm
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FunTranscript
00:00So ma'am, my first question to you is, you gave a quote that before you started making this film, it's an animated film so you were sure that it will not be very economically viable. Still you made it. So as a producer, as a maker, why do people risk it? It's because of the passion and it's because of your conviction. So what I understand is that's what happens.
00:24You see, I wanted this film to be seen. And when I wrote the story, I imagined it in animation. And once I got to know that animation actually, in our country, animation with mature content is not very widespread. It's not made very often.
00:46And even animation, which has children's stories or misological animation, they don't have any distribution capacity unless it's a huge big budget film, which is using animation for other purposes.
01:03So when I realized that, I realized that if I make this film in animation, I'm not going to get my money back.
01:10So the decision was for me to make whether I want to go ahead with it or whether I just kept that story aside and not made it.
01:20But I just felt I have always been fascinated with the art of animation. It is such a beautiful form and a powerful form of telling stories.
01:29And I felt that since there are very few stories told in animation, which have mature content, while all over the world, that's a very common practice, but not in our country.
01:41I felt let's let's let's go ahead and put my money where my mouth is and make it and let's just see it.
01:50It's a passion project for me. And, you know, there are certain places where you have to decide that you have to get money here.
01:59It's okay. It's okay. But the kind of satisfaction one gets out of the responses that one has got all over the world in through film festivals.
02:08It's worth every Paisa that I've put in to the film. So yes, I didn't start off with the feeling that it'll get any money back. And that has been the case. But I don't regret it.
02:23So the film is also going for New York Film Festival. What's the entire process for it?
02:28Any film festival has so many entries because there are so many, you know, makers of films. And this is the New York Indian Film Festival, which is very prestigious.
02:43And what it does is to choose from all the movies, short films or, you know, feature films that are made by Indians on Indian subjects all over the world.
02:58So there are so many films that are sent to that festival. The process for the maker is simplified because there's a platform called Film Freeway, which I use to send my film to film festivals.
03:13And it's a very, very, you know, unique and very simple way where you just put in everything about your project, also put in your project file itself, the main film, and write everything about it, the director's profile, the synopsis, the log line, everything.
03:32And once it is on Film Freeway, then you send it to the festivals through that platform. So whatever the fee that the festival charges, you have to pay those fees online, and your film is entered.
03:48So in that sense, because of Film Freeway, it's, it's very, it's become very convenient now.
03:55But I just feel that the process of selection for the programmers is very difficult because there are so many feature films, feature films and short films and documentaries that, you know, ultimately when your film is selected, it's a matter of great pride.
04:14Ma'am, here, especially in India, I don't know about the countries outside India, but we have heard that,
04:21some people say, okay, this film is a festival film, it's not a commercial film. So, do you think this barrier will ever be broken?
04:31And especially in these times when, you know, there is so much of competition, OTT, theatre, and then television.
04:40So, why do you think this line is broken? Why is this so much?
04:47I don't mind that line actually. You know, if, if there is no line of differentiation between different types of films, then it will be difficult because, you know, some films do very well with the masses.
05:02Some films are niche films. It depends on the subject matter.
05:06If you want to watch it like this, it doesn't need to watch it like this.
05:13And if you like watching every story, you like to watch it either.
05:17So, I feel that there is a place for everything. In fact, today, because of the digital medium, everywhere you can put your stories.
05:28Like, I mean, it's become much better for makers because there are so many options
05:33that wherever you can see your films.
05:37In earlier times, theatre was the only place where you could show your film.
05:41Before, there was no platform for short films.
05:45Now there are so many platforms, whether on YouTube and even OTT platforms, which show
05:50short films.
05:51Apart from film festivals, you can see short films.
05:53So I think that a lot of changes have happened.
05:56So niche stories can be told.
05:58There is an audience for those stories as well.
06:02But not all stories will be seen.
06:04It also depends on, there is so much content, we can see so many things today.
06:11So we have to also choose our stories that we will like and which we want to watch.
06:18So I feel that it's a very, in fact, it's a democratic thing today.
06:23Anybody who has a camera can become a filmmaker.
06:26You know, it's become that simple.
06:28And at the same time, because of the ease of making films, there is too much content which
06:35is not perhaps serious about the art and the craft of it.
06:41So you know, you have to really be picky because there is too much to be seen, you know.
06:51And if you don't see anything, you can see anything on Instagram, you know, and you know,
06:56two hours, three hours, I don't know.
06:59So I feel that, yes, short films ke liye definitely, aaj bhi utne platforms nahi hai, jitne aise
07:06feature films ke liye hain.
07:08Lekin, I think the situation is improving and I hope it improves for animation films with
07:14mature content.
07:15Because uske baare mein toh bhothi kam bola jata hai apne hain and I am looking forward.
07:20That was one of the reasons why I feel my film Dhaopatti or Loop Line which is the English
07:25name.
07:26If it does well at festivals, at least it will encourage a few other people to make those
07:31films and back films which are made in animation which have mature content.
07:38You just stated that art or craft mein bhoat serious nahi hai and there is so much of debate
07:46going especially post-covid ki, you know, itani badi badi budget ke films banti hai.
07:50I don't know, and craft or art ke nahi pe serious nahi hai.
07:54And the kind of stories that they tell and the plots that they have.
08:00So you know, yeh pura, I mean these four years and five years, it's very chaotic not only
08:06for Hindi cinema but also for the overall Indian cinema.
08:09You are absolutely right.
08:10Yes.
08:11What's your take on this?
08:12How can this change?
08:13Actually, it's a very scary situation for filmmakers and producers especially.
08:18Even for distributors, theatre owners, the situation in covid of course, it was a compulsion.
08:25All of us had to just stop work.
08:28So for two years we were watching content only on OTT platforms.
08:32That's how they became so popular all over our country.
08:35But you know, before that, I feel where our industry was concerned, Hindi film industry
08:41I'll talk about, I'm not very well versed with any other industry.
08:47But whether it was Marathi or whether it was a Hindi film industry, a lot of narratives which
08:54were not necessarily mass entertainers, were doing very well before the advent of covid.
09:03But unfortunately, after covid, what happened was people got very used to the fact that,
09:09that this will come to OTT and then we will see it.
09:12So a lot of families who used to otherwise buy tickets and go to the theatres, were kind
09:20of waiting for it to come on OTT.
09:23And therefore, only larger than life subjects are now kind of seen by people in theatres.
09:31And for the rest, it's a very dicey thing because the OTT players are not taking up films unless
09:38they are released theatrically.
09:39Earlier, we could put it directly on OTT, but abhi woh waisa hai nahi.
09:45So theatre pe chalana hai, you have to do at least a little amount of publicity toh uska
09:50kharcha barh jata hai.
09:51And then they don't do well in the general release and so OTT will pay them less for buying
10:00the film because it hasn't done very well, you know, in the general release format.
10:05So it's a very dicey situation because filmmakers don't know what will run, what will not run.
10:12Lager than life bolo toh, there are so many larger than life films which didn't work, you
10:17know.
10:18So it's a, it's a, you know, yeh samay manthan ka hai, that one has to, but I, I believe
10:26in the bottom line which is, you have to tell a good story.
10:30Story is the backbone.
10:31Agar aap yeh socho ki, humare paas yeh stars hain toh hum movie kuch bhi bana denge, toh
10:37nahi log dekhinge, you know.
10:39There has to be something that they find entertaining or they must find something thought provoking.
10:44Ya unko characters itne pasand aajai ki, bhai, woh kehte hain ki, bhai, hum yeh dekhne ke liye
10:50utsuk hain aur achcha hua ki humne paise.
10:53Pair word of mouth se, woh film chalti bhi bohat hai.
10:57So I think that it's, it's really very tough.
11:01There are some films that you feel should have worked but don't.
11:05And you wonder ki, do, can we really calculate, kya hum saajh paayenge kabhi bhi ki what the audience
11:11wants.
11:12So I think that yeah, it's like everybody is going back to their storyboards, their drawing
11:20boards and kind of you know, brainstorming ki kya chalega, kya nahi chalega, nobody knows.
11:27But it's important for the industry that films work.
11:30Unless they work, the whole economics of the industry is going to really not be supportive.
11:37But I do agree with you that we need to, you know, we need to put much more money in the
11:45making of the film or the post-production or pre-production, whatever it is.
11:50We must, you know, kind of invest in our storytellers who are our screenwriters, you know, and invest
12:01in our technical team and cut away the sort of unnecessary expense that filmmaking, you
12:11know, traditionally has had.
12:14So I think we need to definitely do that, cut down on those extra things that we keep spending
12:19on and concentrating on the main thing or jab paise aayenge tab udai yeh us mein kya hai.
12:26It seems like that.
12:27So, you know, you know, you know, we have a lot of actors and producers have very openly
12:29spoken about the, you know, high cost of the actors and their entire army who travels.
12:36And in fact, even when, as a journalist, even when I see, so I don't understand the reason
12:40why there are 10 people with one actor.
12:42Matlab, thik hai, doh log ho ga hai, wo thik hai, teen ho ga hai, thik hai.
12:47But why 10 people like, as if ki, you know, Prime Minister ka security ka pura yeh chal
12:52rahe hai hun ke saath.
12:54It seems like that.
12:55So, you know, you have seen the 90s, right?
12:59You have seen, or 90s may be, you know, bhot bode bode star actors.
13:03So, how, how did they manage and how they, these people are not able to manage, I want
13:09to understand.
13:10I think the culture has changed because there are so many mediums, media today to kind of
13:16explore yourself as an actor.
13:19So, if you are a huge star, for instance, then there are people who are managing your
13:25social media, there are people who are separately managing your social media ads, separately managing
13:32your proper TVC ads, then there are others who are managing your costumes and, you know,
13:39that kind of collaborations.
13:41And that's why, you know, there's a division of labor.
13:45Or there are those many people.
13:48And those many people can only exist if it's commercially viable for the people paying.
13:54So it's not as if ki, one fine day, the star gets up and says, oh, I need 10 people instead
14:00of one.
14:01If there are 10 people with a star and if the producer has, you know, feels that it is important
14:09that the star feels comfortable and I'm willing to pay that much for the star's entourage, then
14:16they'll invest in it or they'll compromise and say that, listen, we can only handle five people
14:21on the set, not more than five.
14:22So I think that, you know, it's not something ki zabardusthi koi kar rahe hai.
14:26Aap afford kar sakte ho, to woh kar rahe hai.
14:30Jo afford nahi kar sakte, agar aap afford nahi kar sakte, the star might put their foot down
14:36and say, listen, I'd rather not do your project because I need my staff with me.
14:40Or they'll say, okay, this project ke lihe mein kompromise karungi ya karunga, you know.
14:45So I think that one should judge people ki, aray itana bada oturaaj, pehle to manage kar
14:53lete, pehle they weren't, there weren't so many avenues that use the star, you know, in terms
15:00of the commercial prospects, so I feel that one should also be more kind.
15:08You know, we generally judge ki inke paas toh bohat hai, so we are quick to judge.
15:14But I think that it's a matter of comfort, you're so caught up with so many different
15:21things and you can't be in ten different places at the same time.
15:25So therefore you allot people ki jahan par aapko represent karne wali ye yeh log honge.
15:31So I think that that works and for jinko work nahi hota hai, woh star ke saad pher kaam nahi
15:35kareenge aur kya.
15:37Now coming back to your film again, so the film about a housewife.
15:42We have seen those, like lot of people have seen, already seen it and those who have not
15:46seen.
15:47So if you can just tell us a little bit about how different is it from the stories of other
15:52housewives, because humare bharatiya cinema mein hai, plight of housewives, woh very normal
15:59hai yeh bata hai hai, toh how different is it from the other housewife stories?
16:04See for me the difference is in what the housewife does with her situation.
16:11The situation can be same for millions and billions of people and it is in many ways.
16:17Like for instance, the bottom line for a lot of housewives, even today, even in houses where
16:26people are considerate and kind to each other, respectful, even there, there is a certain
16:31element of the housewife being taken for granted for the work that she puts in.
16:36And that is almost unseen by everybody and therefore she is thanked a bit less, there is less gratefulness
16:45about it.
16:47And I feel where my housewife is concerned, she is also, she is unfortunately also in a
16:53loveless marriage, her husband and she don't get along.
16:57And you have seen that in many marriages as well, you know, and they still continue.
17:01They have solid marriages.
17:05And my, I started thinking, what keeps them together?
17:11And if it is just societal pressure that okay, our abki shadi ho gahi, toh now you have to
17:18nibhav it till the end, iske alawa, what is it that keeps her alive despite the kind of
17:25insults that her husband, you know, throws her away, despite the drudgery of her life,
17:31like it is a very claustrophobic life in a very dreary house and the whole situation is
17:36not very pleasant and happy.
17:38Toh ye toh situation common hai, lekin woh, she, you know, imagines certain things.
17:46That's the only place where she is not criticized, she is not judged.
17:52So I think that that imagination is something that is unique to my film.
17:59And her imagination is not just pleasant.
18:02It's a sometimes a surreal expression of her anger, her resentment and it is seen in that
18:11scene in the film where she has cut off her own brain.
18:14It's a surreal scene and you know, she is serving her brain, she is serving her husband and friends.
18:24So it can take on that also.
18:26How do you show that rage when you can't show it, because if you see anger, you will get
18:32more of a backlash and you don't want that.
18:35You've lived through it.
18:36You are trying to avoid that.
18:37Toh ye jo presentation hai ki bhai wo karti kya hai in a situation like this, that for me
18:43is the crux of my film, you know, and how it's different.
18:47Ma'am, recent times that there are a lot of women filmmakers who are doing extremely
18:53well in especially in our Indian cinema.
18:56Yes.
18:57In fact, I read one of a statement from Western, some Western filmmaker, you know, they know
19:03that how Indian women filmmakers have been performing so well in the last few years.
19:07Yes.
19:08We have seen so many women filmmakers who pick up the subject of women.
19:13So why not other genre you think that should be explored?
19:17Why not?
19:18Actually, it's not like that.
19:19Like for example, Zoya Akhtar is a prime example of a person not making films only about women.
19:25In fact, she has made Zindagi Na Mile Dubhara, which is like a completely male friendship
19:31film.
19:32Gully Boy, which is centered around male characters.
19:36So Farah Khan makes films regularly, which are like more mainstream than maybe, you know,
19:41a lot of male directors make films.
19:44So I think that and also people like Anubhav Sinha make films with females as a center, Sujai
19:51Ghosh.
19:52And there are so many filmmakers, Abhishek Chaube, they make such interesting films, Imtiaz
19:57Ali.
19:58Their film, the women characters are so interesting and so sensitively portrayed.
20:03So, I don't think that it's not commercially commercially, but I think that there are certain stories
20:14related to women, which are very close to my heart and it's also part, some parts of it
20:20is also part of my lived experience.
20:23So if you want to be an authentic voice, because I think it's your direction or writing, it has
20:28to be your voice.
20:29Otherwise, why are you telling a story?
20:31Why can't you tell someone else's story?
20:33So for that I feel that it was important for me to tell these stories.
20:38So I am moving away from just the gender dynamics that I have dealt with till now.
20:53So that's basically it.
20:54So I think that in terms of my evolution as a writer, first you go to what is your core,
21:02and then you look outward, and you look at your other experiences.
21:07So now I am in that state after three films, I am going to look outward and I am going to
21:12look at society in general.
21:13So what kind of, I know you can't, about your forthcoming projects, what kind of film you
21:20are writing or planning to write or direct?
21:22There is a Marathi film which I have written which I am hoping to direct very soon and that
21:27is based on family dynamics related to racism.
21:32So that's a very social thing which I think exists even today and it's necessary that we
21:37talk about it.
21:39And there is a black comedy that I am writing which is in Hindi and that is also taking
21:46a very different, you know, kind of view at what is happening especially in the world
21:54of politics, the underworld and police.
22:00So that's pretty much it.
22:02So there is something that you spoke about racism.
22:04So what in India I understand it is not exactly the racism but like what we understand.
22:08Yeah.
22:09So casteism, racism, colorism, all these.
22:12North South.
22:13Yeah.
22:14Exactly.
22:15So these are the topics that I am dealing with in my Marathi film.
22:19Yeah.
22:20Okay.
22:21And ma'am, you know, before we wrap up, we would like to, you know, ask you that, you
22:27know, more and more Indian films are going for film festival.
22:30And in the Cannes also we saw that Homebound, you know, it did very well.
22:33Yes.
22:34So do you think like, but you know, in I think 2002, Devdas went there.
22:43So do you think that, you know, more of our commercial films should make their way to the
22:48film festivals, not just, you know, a certain kind of subjects, you know, which is more like
22:55pertaining to the society and written, you know, the issues like, as you said, racism,
23:00casteism, and women related issues.
23:03So do you think that a commercial film like Devdas, which was there in the Cannes in 2022,
23:09so those kinds of films should also make their way to the film festival.
23:12I think that it, it's so dependent on who the programmers and what they are looking for
23:18in their, you know, film festival that all over the world, there are, there is so much
23:25happening and there's so much good work happening.
23:27People are constantly pushing boundaries, you know, and trying to tell stories in a very,
23:32very different manner, experimental way, because we have only those seven stories actually
23:38to tell, only those emotions that all of us feel, you know, the whole place of how you are
23:45weaving it together and what you want to say, what is your message, not message per se, but
23:50what you want to say through your film.
23:52So I think that, you know, if our films are made in a manner where they fit into the kind
24:01of programming concept of that particular film festival, then they will definitely, you know,
24:06be shown.
24:07For example, I think the Toronto Film Festival always has some of our mainstream films shown
24:12there.
24:13I think it's one of the festivals which regularly shows commercial Indian cinema.
24:19And I think that the more films that get awarded in film festivals and all, I think it will
24:27encourage more and more films to be shown or to be seen at very, very important film festivals
24:35all over the world.
24:36And would you like to decide about your film and if, you know, for the fans?
24:40I would just like to, you know, kind of say to all the makers that in whatever manner you
24:48want to tell your story, please tell your stories.
24:51Don't tell anybody else's stories.
24:54Don't wait for commercial compulsions to dictate the kind of stories that you tell.
24:59I think try and be your authentic voice because that's the only voice that people all over the
25:05world want to hear or want to listen to.
25:08While you were talking, just one question came to my mind.
25:11Yeah.
25:12Ma'am, you have ruled television in 90s.
25:15And when people actually recognize all the television actors and you know, you know, I'm
25:22sure,
25:23sometimes people have seen you and it wasn't a selfie, but they must, you know, they have
25:29come for an autograph.
25:30So, do you still get offers from television?
25:34Do they offer you some special kind of role or any this kind?
25:38I do get offers very regularly for television.
25:41But unfortunately, television today is just full of daily soaps.
25:45And it's not possible for me to manage my home, my writing direction and my acting and then,
25:52you know, kind of balance that.
25:54And unfortunately, most of the stories on television today are very regressive.
26:00They show women in a very regressive manner, even if on the face of it, it's about something,
26:06which is, you know, talking about women of substance or this, that and the other.
26:10It's the same thing over and over again.
26:13And I've got offers where I've been told that, oh, you're the mother-in-law and you don't
26:18get along with your daughter-in-law.
26:20And I said, I don't even want to hear beyond this because let's go beyond.
26:23There are so many shades of mothers-in-law, so many shades of daughters-in-law and they're
26:29all, you know, women are doing so many things today.
26:33And none of that is reflected on our television, which is unfortunate because there was a time
26:38when television was a potent way of social change and progressiveness.
26:44And that I don't think, I think it's given up that aspect.
26:48And I think that aspect has been taken over by films, web series and, you know, short films.
26:56So I just feel sad about that.
26:58I feel at least some, you know, serials which are maybe might not do very well.
27:05Because if you want to break the mold, maybe they won't see it.
27:12But I feel that, yeah, you make enough money with the other stuff for you to subsidize something
27:17which actually might make a difference and make, you know, some sort of give a realistic image
27:24of what today's Indian woman is all about, you know.
27:27So it's sad.
27:29So that's why I don't, I haven't accepted any television serial till now.
27:34Ashutosh, sir, has, you know, accepted and he is doing also Chandra Dai.
27:39So have you been able to see, you know, how did you find his character?
27:44I always love what he does.
27:46I mean, he's such a phenomenal actor and he's such a phenomenal personality.
27:51So anything that he does, he does with such a deep commitment and with such talent that it's always a pleasure to watch him.
28:00And I'm a huge fan of his and, you know, I'm very proud of him as a wife as well.
28:06So, yes, it's a very different kind of role that he's playing as Chandra Dai and it's, I think, it's very different to see him like that.
28:19And he's much more like a narrator in it rather than, you know, as part of the main thing, main story.
28:26But I liked his entire look and everything.
28:29It's very nice.
28:30In one of the interview, he also said that he would like to be directed by you.
28:33So, you will have to write food for them.
28:37I'm writing.
28:38So, hopefully one day I'll be behind the camera and he'll be in front of it.
28:44Okay.
28:45I think it will be quite an interesting experience.
28:48Yes.
28:49You directing Ashutoshita.
28:50Yes, very much.
28:52Thanks so much.
28:53Thanks so much for your time.
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