Cannes has become all about the red carpet

Q. What took you so long to don the director’s hat?
I have always wanted to become a director, but fate conspired to make me an actor first. Even in college, when a bunch of us did theatre, the actor in the female lead backed out two days before the show. Being the only girl around, I was forced to perform as the tickets were already sold.

Q. What forms the basis of your film Tere Mere Phere?
The institution of marriage is drilled into our heads right from our childhood.  It’s almost like our entire growing up process is to prepare for the event! I have, over the years,  keenly observed the fascinating bond between a man and  woman. And though marriage legalises this,  how legit are things between them? It’s a relationship that is full of togetherness as well as strife!

Q. Does a divide between commercial and off-beat cinema exist?
There isn’t any more,  though there are films on the fringes. There are commercial movies with old formulas and off-beat films in an old-fashion way, which people are not interested in. Even Cannes, the mother of all festivals, is more about beauty brands and the red carpet today, than about films.

Q. What does today’s Indian cinema stand for?
Audiences are more savvy and accepting now. Relatable films are thankfully getting their due today.

Q. Are women film-makers more accepted in the Indian film industry now?
Women are breaking the glass ceiling, even though exploitation exists in many areas. However,  women are better  accepted in positions of power today.

Q. You are part of an animation company. Does India match up to Hollywood standards?
Most of the award-winning animation is done in India under names of western companies. But, we need subjects that work universally.